










.'. -^.^O^ o, 



y AMERICAN 



G I R L'S BOOK: 



OCCUPATION FOR PLAY HOURS. 



m^ 



BY MISS LfiSLIE, 

Author of Stories for Emma, the Mirror, Young Americans, Adelaide, &c. 



iWb! mn^ 




The sports of children satisfy the child— CroWsmi?/(. 



boston: munroe and francis 
c. s. francis, new-york. 



[Entered, according to act of conj^-ess, in the Clerk's office for the District of Massnchtisatts, 
1831, by Munroe & Francis.] 



f'^r' 



6^^ 



INTRODUCTION. 

(see frontispiece.) 



Henrietta, Isabella, and Juliet are seated under a tree in tbe garden, -when ihey suddenly per» 
ceive their mother coming to them from the house. 

Juliet. Oh ! here is dear mother just arrived from the 
city. Let us run to meet her. ( They hasten to Mrs Moii^- 
rington^ and she kisses them all.) 

Mrs Morringtqn. Well, my dears, I am glad to see you 
well, and I suppose that nothing of any consequence has hap- 
pened since I left you on Wednesday ? 

Henrietta. Nothing, mother ; only that the fire-flies be- 
gan to appear last evening. They were sparkling all 
through the garden. 

Isabella. And we heard the mocking-bird yesterday im- 
itating the whip-poor-will, and he said those words as plain- 
ly as if he was speaking them; just like the real whip-poor- 
will. 





IV INTRODUCTION. 

Juliet. And my own cantelope vine, that I planted my- 
self, has come out with twenty-six blossoms ; so I shall have 
a fine supply of melons. 

Mrs Morrington. I rejoice to hear so much good news. 
But I must show you a new book I have brought you, and 
then I will go in and take off my bonnet. 

Henrietta. What is it, dear mother ? 

Mrs Morrington. It is the American GirPs Book. 

All. Oh ! let us see it. (Mrs Morrington gives it to 
them,) 

Henrietta. It is a book of recreations. Have you read 
it, mother ? 

Mrs Morrington. Yes, I read it this morning in the 
steam-boat. I hope you will in future be at no loss for 
amusements in your play-hours. 

Isabella. 1 wish we had possessed this book before we 
went to Georgiana Howard's birth-day party, where nothing 
was thought of but playing on the piano and dancing, just as 
if the company were all ladies and gentlemen. 

Henrietta. Still I think that Georgiana Howard's party 
was not more dull than parties usually are — I am sure they 
are all equally so to me. 



INTRODUCTION. V 

Juliet. And to me also ; as I have not yet began to learn 
music, I do not think that ugly tunes are pretty. 
Mrs Morrington. (smiling.) Explain yourself. 
Juliet. I mean that I do not like to sit half the evening 
and hear little girls playing the tiresome pieces that their 
teachers call " good practice." They may be very good prac- 
tice, but children like me can find no meaning in them, as 
they seem to go all ways and with no regularity, and it is 
difficult to distinguish one from another. 

Mrs Morrington. They appear so to you, because you 
do not understand them. I can easily imagine that to the 
generality of children scientific music is very fatiguing, even 
when well performed and by excellent musicians. 

Juliet. Little girls like amusements that they can all 
partake of Now when there is dancing at parties, not one 
half the company can get places, particularly the younger 
ones, so they are obliged to sit by and look on. 

Henrietta. Besides, we have enough of music and danc- 
ing at school. That evening at Georgiana's I proposed some 
little plays by way of variety, but I found that no one knew 
any thing about that sort of amusement. I would have tried 
to teach them the few that I was acquainted with, but Geor- 



VI INTRODUCTION. 

giana and the elder girls persisted in dancing, and nearly all 
the little ones fell asleep on their chairs. 

Juliet. Are the plays and games in this book for children 
of all ages, dear mother 2 

Mrs Morrington. Yes, the first section comprises a se- 
ries of sports and pastimes for little girls from four to ten 
years old. Many of these amusements are designed chiefly 
to exercise the body, and none of them require any extraor- 
dinary effort of the mind. These are followed by plays for 
girls between ten and fifteen, in most of which some degree 
of ingenuity is requisite. 

Juliet. But are these plays for the elder girls too difficult 
for the little ones 2 

Mrs Morrington. A few of them are. But generally 
speaking, an intelligent little girl with a quick comprehension 
and a good memory will find any diversion in the book suf- 
ficiently easy. 

Henrietta. Some of the amusements in the first part of 
the book seem quite too childish for me. 

Isabella. Well, I intend to go through them all. 1 think 
it pleasant enough to play with small children occasionally, 
when they are not dull or fretful, and I like to make them 



INTRODUCTION. VU 

happy by entering into their amusementSj however trifling 
they may appear. 

Mrs Morrington. You see that most of these plays are 
not only minutely described, but also illustrated by a dia- 
logue. 

Isabella. The dialogues will of course enable us to com- 
prehend the plays with more ease. 

Henrietta. Ah ! here are various ways of redeeming 
forfeits. In games of forfeits there is generally considerable 
difficulty in deciding upon what terms they are to be restored to 
their owners. 

Isabella. And here are little games with cards as well 
as loto, domino, chequers and other similar diversions. 

Henrietta. And here is a large collection of riddles with 
the answers directly under them, which will save the trouble 
of turning over leaves and searching out figures of reference. 

Isabella. See — see — Here are varieties of pincushions, 
needle-books and reticules, with directions for making them. 

Juliet. And dolls too ! Here are several ways of making 
dolls. 

Mrs Morrington. I will give you some pieces of silk 
and other materials, and you may construct as many of these 
articles as you please. This sort of work is not only amusing 



Vlll INTRODUCTION. 

but very improving, as it teaches children expertness in cut- 
ting out and fixing, and neatness in sewing. 

Henrietta. Juliet, I will make you a handsome linen doll 
exactly like this in the book. 

Juliet. Thank you, Henrietta. I know I shall like it bet- 
ter than my wax doll, which I am always afraid to handle. 
I think I could myself make some of these bags and pincush- 
ions. At least I will try one or two of the easiest. 
Isabella. I shall not fear to attempt any of them. 
Henrietta. And I will undertake all the drawing and 
colouring that is to be done. 

Juliet. I think I shall make a patch-work quilt for my doll. 
Isabella. And while two of us are sewing, the other can 
read the riddles aloud, and we will try to guess them. 

Henrietta. I rather think we shall know all the riddles 
before this sewing begins. 

Juliet. Dear mother, now that you have been so kind as 
to bring us this book, I shall find less trouble in amusing little 
Marian Graham when she comes to see me. She, at least, 
can play " Robin's alive," and " Honey Pots," and " Bread 
and Cheese." She may be able also to understand some of 
the easiest riddles, though I doubt her guessing any of the co- 



INTRODUCTION. IX 

nundrums, poor thing. And as for cutting and sewing, I 
dare say she could soon learn to clip the edges of the pen-wi- 
pers, or perhaps to make a black doll. 

Henrietta. Dear mother, my birth-day will soon come. If 
you will permit me to have a little party, we will show how well 
we can get through the evening without either music or danc- 
ing, or without pretending to talk and behave like grown ladies 
and gentlemen. Before that time we shall have learned all 
these plays, and we will select for the occasion none but the 
most amusing, and such as the whole company can join in. 

Mrs Morrington. I consent, my dear, willingly, and I 
hope your young guests will follow the example and conduct 
their future parties on a similar plan. Do not, however, sup- 
pose that these little plays are intended particularly for par- 
ties. Many of them can be just as well pursued in small 
famihes or by only two or three children. 

I have often regretted that so many of the diversions 
which formerly enhvened the leisure hours of very yoimg 
people should long since have become obsolete, or only to be 
found in circles which are yet imtouched with the folly and 
affectation of what is called fashion. And also that in fami- 
hes where the children are over educated (as is now too often 
the case) the parents, forgetting that they themselves were 



X INTRODUCTION. 

once young, allow no recreations but those of so grave a 
character, that play becomes more difficult and fatiguing than 
study. 

The author of this little book has not aimed at compiling a 
juvenile encyclopedia.— It is simply an unpretending manual 
of light and exhilarating amusements; most of which will 
be found on trial to answer the purpose of unbending the 
mind or exercising the body, and at the same time interest- 
ing the attention. 



CONTENTS, 



SPORTS AND PASTIMES. 

Page 

Lady Queen Anne • . . . . 2 

Robin's Alive 4 

The Book-binder 6 

How many miles to Babylon 7 

How many Fingers 8 

Puss in the Corner •.....,.,.. 9 

Mr Pope and his Lady 10 

Copenhagen » jj 

Honey Pots 12 

Track t'^e Rabbit 13 

Whoop, or Hide and Seek 14 

Hot Butter'd Beans 14 

Stir the Mush 15 

Twirl the Trencher .16 

Bread and Cheese .17 

Frog- in the Middle «... 19 

The Christmas Bag- ............ 20 

Of what Trade is our Favourite *«....». 22 



XU CONTENTS. 

Page 

The King and his Train 25 

Sewing School 26 

The Blind Pointer 27 

The Hen and Chickens 28 

Hunt the Slipper 29 

The Thimble 30 

The Ten fine Birds 31 

King and Queen 33 

The Dutch Doll • . 35 

Farmers and Mechanics . •......,. 36 

She can do little who can't do this 38 

Blindraan's Buff 39 

The Bells of London 42 

The Prussian Exercise 45 

Dressing the Lady 46 

The Throne of Compliments -48 

The Apprentice 51 

The Traveller . . . ." 52 

Magical Music 55 

Chitterbob 57 

How do you like it 58 

What is my thought like ? 60 

The Lawyer . • • . . 64 

The Elements ....:...'.•• 66 

The Secret Word 69 

Many words in one 71 

The Watch Word '74 

The Newspaper '6 



CONTENTS. Xlll j 

i 
Page 

The Merchants 79 ■ 

Tea Table 81 

My Lady's Toilet 82 ' 

The Dumb Orator 85 j 

Consequences 88 : 

I love my love • 92 i 

Another way of playing I love my love 95 \ 

Cupid 99 I 

Selling pawns or forfeits lOl | 

1 

PLAYS WITH TOYS. \ 

The Graces 120 ■ 

Battledore and Shuttlecock 122 

Loto 124 ^ 

Domino • 126 ; 

Chequers or Draughts • 128 ' 

Fox and Geese 131 ^ 

Morrice . 133 <. 

Jack Straws 136 \ 

I 

LITTLE GAMES WITH CARDS. J 

Expedition 140 j 

Recruiting Officer 142 ; 

Tommy come tickle me 143 ! 

Old Maid, or Old Bachelor 144 ; 

Speculation or Matrimony . • ,146 



XIV CONTENTS. 

Page 

Lend me your bundle, neighbour 148 

Five and Forty 151 

A Card House ....*• 153 

A Cheesecake of Cards 154 

An easy trick with Cards 155 

Games with Historical Cards 156 



RIDDLES. 

Enig-mas jgj 

Charades 181 

Rebuses J91 

Conundrums 204' 



33art mUk. 

AMUSING WORK.— PINCUSHIONS. 

A Brick Pincushion . 227 

A Flannel Pincushion 230 

A Heart Pincushion 231 

A Pincushion in gores 232 

A Corded Pincushion , ... 233 

A Strawberry , ... 235 

A Basket Pincushion .... ... . , , 236 

A Bunch of Hearts 237 

A Bunch of Roots . , . 238 



CONTENTS. XV 

Page 

A Star Pincushion ........... 239 

A Melon-seed Pincushion 240 

A Boot Pincushion 242 

A Swan Pincushion 243 

A Woman Pincushion . 245 

A Guitar Pincushion 247 

NEEDLE BOOKS. 

A Bellows Needle Book . 248 

A Thistle Needle Book 250 

A Needle Book Work Bag 252 

A very convenient Needle Book 254 

A Pincushion Needle Book 256 

A Three-sided Needle Book 258 

RETICULES. 

A Doll Bag 260 

A Circular Reticule 262 

A Basket Reticule 264 

A Three-sided Reticule 265 

A Pocket Book Reticule *......,.. 266 

A Plaited Reticule . , » ...... . 267 

A Melon Reticule »..,..,.,»• 269 

A Pointed Reticule 271 

A Halbert'shaped Reticule 273 

A Dimity Reticule , 274 

A Braided Reticule 376 



CONTENTS. 



VARIETIES. 

A Lamp-stand 278 

A Match Box 280 

A Riddle Flower , . .282 

A Dancing- Doll 284 

A Jointed Linen Doll 287 

A Common Linen Doll . . • 292 

A Black Doll 294 

A Pen-wiper 295 

Another Pen-wiper 296 

A third Pen-wiper 298 

Hexag^on Patch-work . • 299 

A Court-plaster Case . 302 



iisasjsjKSiisr oasaa© ^©(©ja* j 



THE 



SPORTS AND PASTIMES. 



In books, or work, or healthful play, 

Let my first years be pass'd. WATTS. 



Some of these plays requiring a more minute ex- 
planation than others, we will suppose a company of 
very young girls engaged in them ; and, designating 
each child by her name, we will give a short sketch, 
in the dramatic or dialogue form, of w^hat may be 
said and done on the occasion, whenever we think 
such an illustration will answer the puirpose better 
than a mere description, 
X 




LADY aUEEN ANNE. 



We will imagine five little girls engaged in this 
play, and their names may be Fanny, Lucy, Mary, 
Ellen, and Jane. 

A ball or pincushion, or something of the kind, 
having been procured, Fanny leaves the room or 
hides her face in a corner, that she may not see what 
is going on, while her companions range themselves 
in a row, each concealing both hands under her frock 



THE AMERICAN GIRJL'S BOOK. 3 

OX apron. The ball has been given to Ellen, but all 
the others must likewise keep their hands under cover, 
as if they had it. When all is ready, Fanny is de- 
sired to come forward, and, advancing in front of the 
row, she addresses any one she pleases (for instance, 
Lucy,) in the following words : 

'' Lady Queen AnnO; she sits in the sun, 

As fair as a lily, as brown as a bun, 

She sends you three letters, and prays you'll read .one." 

Lucy. I cannot read one, unless I read all. 
Fanny. Then pray. Miss Lucy, deliver the ball. 

Lucy, not being the one that has the ball, displays 
her empty hands ; and Fanny, finding that she has 
guessed wTong, retires, and comes back again as soon 
as she is called. She then addresses Mary in the 
the same words, " Lady dueen Anne," &c. ; but she 
is still mistaken, as Mary has not the ball. Next 
time Fanny accosts Ellen, and finds that she is now 
right ; Ellen producing the ball fiom under her apron. 
Ellen now goes out, and Fanny takes her place in 
the row. Sometimes the real holder of the ball hap- 
pens to be the first person addressed. 




robin's alive. 

This is played by the children's sitting in a row^ 
with a small lighted stick or a rod that burns slowly ; 
which had better be held with great care, that there 
may be no danger of setting any thing on fire. Fan- 
ny, being at the head of the row, takes the lighted 
stick in her hand, and blows out the flame, so that 
there remains only a spark, or a dull redness on the 
top of the stick* 



THE AMERICAN GIRL'S BOOK. 5 

Fanny then says, " Robin 's alive, and alive he 
shall be. If he dies in my hand, my mouth shall be 
bridled, my back shall be saddled, and I'll be sent 
home to the King's Whitehall." She then puts the 
lighted stick into the hand of Susan, who is next to 
her, and Susan repeats the same words, and passes it 
on to Lucy. After Lucy has gone through '' Robin's 
aUve," &c. she transfers the stick to the next, the fire 
all the time gradually fading. If it goes quite out in 
the hand of Mary, or any one else, Fanny must say 
to her, " Robin is dead, and dead he shall be. He 
has died in your hand, and your mouth shall be bri- 
dled, your back shall be saddled to send you home to 
the King's Whitehall." Mary is then blindfolded, 
and lies down on the sofa or on the hearth-rug, with 
ther face downwards. Each of the little giils, in turn^ 
brings something and lays it on Mary's back ; for in- 
stance, a newspaper, a book, a handkerchief, a shoe, 
a Uttle basket, or any other convenient article, saying 
every time " Heavy, heavy what lies over you." Ma- 
ry tries to guess, and when she guesses rightly she is 
allowed to rise. The stick is lighted again, and the 
play resumed. It must be remembered, that, as soon 
m the stick is lighted, the flame is to be blown out. 



« THE AMERICAN GIRL'S BOOK. 

SO as to leave only a redness. A green rod is the 
best for a Robin, as it burns more slowly and lasts 
longer than a dry stick. 

If Mary guesses a book, when it is in reality a shoe, 
the girl who has placed it there must say, " Shoe, lie 
there till book comes," and so on throughout the play. 

3.. 

THE BOOK-BINDER, 

All the little girls range themselves in a row on 
chairs or on the sofa, each holding together the palms 
of her hands. Fanny, who personates the book- 
binder, takes a small book between her hands, and 
beginning at the head of the row where Lucy is seat- 
ed, she taps the cover with her fingers for a moment, 
and then suddenly endeavours to give Lucy a smart 
blow with the book on her joined hands. Lucy en- 
deavours to avoid the blow by hastily withdrawing 
her hands. If she is not quick enough and allows 
them to be struck, she must go down to the bottom or 
tail of the row. Fanny then proceeds to the next girl, 
and attempts in the same manner to strike her hands 
with the book ; and so on till she has got to the end 



THE AMERICAN GIRL'S BOOK. 7 

of the row ; after which the Httle girl who is then 
head of the Une becomes book-binder. 



HOW MANY MILES TO BABYLON. 

This is a very simple play, but is good exercise in 
cold weather. It is generally played by three, or five. 
When three only are engaged in it, one stands at each 
end of the room, and the third at one side ; the latter 
is called the witch. Fanny calls out, " How many 
miles to Babylon ?" Lucy replies, '^ Threescore and 
ten." Fanny asks, " Can I get there by candle-hght ?" 
Lucy answers, " Yes, and back again ; but take care 
the old witch don't catch you on the road." Susan, 
who performs the witch, then starts forward and tries 
to catch one of her playmates, as they all run about 
in every direction to save themselves from her grasp. 
The one that she succeeds in catching then becomes 
witch, and the play proceeds as before. 

If five are playing, four stand in the four corners of 
the room, and the fifth- w^ho is the w4tch, takes the 
middle. 




5. 
HOW MANY FINGERS. 

This is a very simple play, and can be understood 
by children of three years old. It is played by two 
only. One lays her head in the lap of the other, in 
such a manner that she can see nothing. Her 
companion claps her several times on the back, hold- 
t ing up one or more fingers saying 

" Mingledy, minglecly, c\ap, clap, 
fjow man}'^ fing-ers do I hold up V^ 



THE AMERICAN GIRL'S BOOK. 9 

She must endeavour to guess. If she guesses three, 
when in reahty only two have been held up, her 
play-mate says 

" Three you said; and two it was, 

Mingledy, mingledy, clap, clap, 

How many fingers do I hold up V^ {holding up four.) 

She guesses again, and whenever she guesses rightly, 
it becomes her turn to hold up her fingers, while her 
companion lays her head down and covers her eyes. 
She who holds up her fingers, changes the number 
^very time, sometimes holding up but one, sometimes 
all the fingers of both hands. The thumbs must 
never be held up. 

-6. 

PUSS IN THE CORNER. 

This is very simple, and is played by five. One 
goes into each corner of the room, and the fifth stands 
in the middle, personating the Puss. As soon as she 
calls out " Poor Pussy wants a corner," they all run 
out of the corners to change them, and the Puss tries 
to get into one. She that in the scramble is left 
without a corner, goes into the middle as the next 
Puss. 




7. 



MR POPE AND HIS LADYc 



This may be played by any number. A small 
waiter of a circular shape is provided ; or, if a round 
waiter is not at hand^^ a little plate will do as well. 
The waiter is laid on the floor in the middle of the 
room. One of the company goes to it, takes it up, 
and setting it on its edge gives it a vigorous twirl 
with her thumb and finger, so as to make it spin 
round, saying, as she takes the waiter^ " By the leave 



THE AMERICAN GIRL'S BOOK. 11 

of Mr Pope and his lady." If the waiter falls with 
the wrong side upwards, she is to pay a forfeit ; and 
a forfeit is also required if she forgets to say the pro- 
per words on taking it up. She then retires, and 
the next in turn advances and spins round the wai- 
ter, saying also " By the leave of Mr Pope and his 
lady." 

8. 
COPENHAGEN. 

First procure a long piece of tape or twine, suffi- 
cient to go round the whole company, who must stand 
in a circle, every girl holding in each of her hands 
a part of the string. The last that takes her station, 
holds the two ends of the tape. One remains stand- 
ing in the centre of the circle. She is called ^'the 
Dane," and she must endeavour to slap the hands 
of one of those that is holding the string, and who 
must try to elude the blow by hastily withdrawing 
her hands. If she is not sufficiently alert, and allows 
them to be slapped, she takes the place of the Dane, 
and forfeits a kiss to her. When in the middle of 
the ring, she in turn must try to slap the hands of 
some one. 




9. 



HONEY POTS. 



A little girl sits half down on the floor, clasping 
her hands together under her knees. Two others, 
"who are older and stronger, take her up by the arms 
and carry her round the room between them, saying, 
^^ Who'll buy a Honey Pot ?" The honey pot must 
keep her hands tightly clasped together all the time, 
30 as to support her knees. If she loosens them, and 



THE AMERICAiN GIRL'S BOOK. 13 

allows her feet to drop before she has been carried 
quite round the room, she is to pay a forfeit. If the 
company is large, several honey-pots may be carried 
round at once. 



10. 
TRACK THE RABBIT^ 

The girls form a circle, holding each other's hands. 
One, called " the Rabbit," is left out. She runs sev- 
eral times round the ring on the outside, and then 
taps one of her companions on the shoulder. She 
that has received the tap quits the ring and pursues 
the rabbit, (always following exactly in her track) 
the circle again joining hands. The rabbit runs 
round the ring and through it in every direction, 
passing under the arms of those in the circle, who 
raise them to let her pass, and her pursuer follows 
closely after her. As soon as she catches the rabbit, 
she becomes rabbit herself, and takes her place on 
the outside of the ring. Those in the circle must 
always assist the rabbit in trying to save herself from 
being caught. 



14 THE AMERICAN GIRL^S BOOK. 



This is best played in a garden, in a farm-yard, in 
the woods, or in some other suitable place out of 
doors, where there are conveniences for hiding. The 
children assemble together in a group, covering their 
faces that they may not see, while one of them, (call- 
ed the hider) conceals herself among the trees, be- 
hind the bushes, within an arbour, on the other side 
of a wall, under a heap of hay, or in any other place 
that she thinks will not be discovered. As soon as 
she has hidden herself, she calls out ^^ Whoop," in a 
loud voice. Her companions then run about in 
search of her, and whoever finds her first, is the next 
to hide. 

12. 

HOT BUTTERED BEANS. 

A card, a match, a scrap of ribbon, a bit of paper, 
or some other little thing is the article to be hidden 
and Fanny may be chosen to begin the play. All 
the other girls leave the room and stay outside of the 
door ; or if it is more convenient to remain in the room^ 



THE AMERICAN GIRL'S BOOK. 15 

they go into a corner and cover their eyes, taking 
care not to peep. Fanny then hides the card or 
whatever it may be. under the hearth-rug, beneath 
the table-cover, behind a window-shutter or behind 
the sofa, on the shelf of the piano, or in any other 
place she thinks proper. She then summons her 
play-mates by calling out, ^' Hot butter'd beans ; 
please to come to svipper." The other girls all run 
and search every where for the card. If they ap- 
proach the place where it is concealed, Fanny tells 
them that ^' they burn," or that ^^ they are warm," 
according to the distance. If they keep far from it 
she says " they are cold," or '^ cool." She that finds 
the card, hides it next time. 

13. 
STIR THE MUSH. 

Have one chair too few, and prohibit sitting on the 
sofa. If seven girls are playing, allow but six chairs 
to remain in the room, and place them close to the 
wall. One of the children stands in the middle 
of the room, holding a stout stick, and the others 
walk round her, saying, " Stir the mush, siir the 
mush ;" and she pretends to stir very hard with the 



16 THE AMERICAN GIRL'S BOOK. 

stickj continuing to do so for some time. After a 
while, when no one is expecting it, she knocks three 
times on the floor with the stick, and then drops it and 
joins her play-mates, who at this signal all run about 
and scramble for a seat. Whoever is left without a 
chair, is the next to take the stick and stir the mush. 

14. 

TWIRL THE TRENCHER. 

A plate is laid in the middle of the floor. The 
leader of the play then designates all the girls by 
numbers^ as, One, Two^ Three, Four, &c. and they 
must take care to remember their numbers. She 
then desires No. 1 to go and twirl the trencher ; that is,^ 
she must take the plate between her thumb and finger 
and give it a hard twirl to set it spinning, at the 
same time calling out for No. 4, or any one she plea- 
ses. If No. 4 does not instantly run up and catch 
the plate before it has done spinning round, she pays 
a forfeit. If she is sufficiently alert to get to it and 
seize it before it falls, she must give it a twirl and 
make it spin, calling our for No. 2, or some one else^ 
who must then endeavour to catch the plate in time^ 
or pay a pawn if she fails. 




15. 



BREAD AND CHEESE. 



This is generally played by two only. Each shuts 
her handsj and the closed hands are piled upon eac^ 
other, Lucy's and Jane's alternately. That is, Lucy 
places her right hand on the table or on her knee. 
Then Jane puts her right hand on Lucy's. Next 
Lucy adds her left hand, and then Jane completes 
the pile by putting her left hand on the top of Lucy^s. 
When the hands are arranged, Lucy (whose haixi 
2 



i§ THE AMERICAN GIRL'S BOOK. 

is undermost) asks Jane, ^' What have you there T' 
Jane repHes, " Bread and cheese." Lucy tells her to 
" eat it up •/' which Jane pretends to d^ by with- 
drawing her left hand and putting it to her mouth ; 
as if eating her bread and cheese. Jane then asks 
Lucy " what she has there T and Lucy replies in the 
same manner. Lucy then puts the question to Janey 
who after taking away her right hand commences 
the following dialogue^ while Lucy (till it is over) 
continues to keep her right hand closed and resting 
on the table. 



JaNE. 


What have you there f 


Lucy. 


A chest. 


Jane. 


What is in it? 


Lucy. 


Bread and cheese. 


Jane. 


Where is my share 1 


Lucy. 


The cat has got it. 


Jane. 


Where is the cat 1 


Lucy. 


in the woods. 


Jane. 


Where are the woods ? 


Lucy. 


Fire has burned them. 


Jane. 


Where is the fire ? 


Lucy. 


Water has quenched it.' 


Jane. 


Where is the water ? 


Lucy. 


The ox has drank it. 


Jane. 


Where is the ox ? 


LuCYi 


The butcher has killed him. 



THE AMERICAN GIRL'S BOOK. 19 

Jane. Where is the butcher ? 

Lucy. Behind the door cracking nuts 5 and whoever speaks the first 
word shall have three twitches by the ear and three squeezes by the 
hand. 

They then try which can remain silent the long- 
est. If either speaks, the other twitches her ear and 
squeezes her hand three times. If the play is repeat- 
ed, it is Jane's turn to have her hand at the bottom 
and to answ^er the questions. 



16. 

FROG IN THE MIDDLE. 

She that personates the Frog stands in the middle 
of the room, and her companions run round her say- 
ing, " Frog in the middle, you can't catch me." Now 
and then the Frog suddenly jumps out and endeav- 
ours to seize on one of her playmates, who if caught 
becomes Frog and takes her station in the centre. 
The Frog, when she jumps out of the middle, must 
not pursue or run after any one, but must try to 
catch by a sadden spring and grasp. 




THE CHRISTMAS BAG. 

Fill with sugai- plums a large bag of thin white 
paper and tie a string round the top to keep it fast. 



TUE AMRRIHAN GIRL'S BOOK. 21 

Then suspend it to the centre of a large door-frame 
(the foldini>' door for mstance), or to the ceiUng ifcon- 
venient. Each of the children must be 'ohndfolded in 
turn, and provided with a long stick. They are 
then led within reach of the bag and directed to try 
while blindfolded to strike the bag with the stick, 
and are allowed to make three attempts : after which, 
if unsuccessful, they must give place to the next. 
The play goes on in this manner till some one strikes 
the bag with the stick so as to tear a hole iri the 
paper ; upon which the sugar plums fall out and 
are scattered over the floor, when all the children 
scramble for them. For older children there may 
be a second bag filled with little books, small pin- 
cushions, bodkins, emery -bags, ribbon-yards, and 
things of a similar description. 

This amusement may be concluded, by one of the 
family bringing in a bag which has been secretly filled 
with flour, and hanging it to the door frame as if, like 
the others, it was stored with sugar plums or pretty 
things. The company must not be apprized of its 
real contents, and must as before try bhndfolded to 
strike it with the stick. When a hole is torn in the 
bag, every one near it will be dusted with the flour. 



n THE AMERICAN GIRL'S BOOK, 

18, 
OF WHAT TRADE IS OUR FAVOURITE ? 

Lucy goes out while her play-mates decide on a 
trade, Fanny having previously taken her aside and 
whispered to her that the trade fixed on, will be the 
one mentioned immediately after a profession. The 
other girls are not to know that this is the manner 
in which Lucy will be enabled to guess. After Lucy 
has retired, they fix on a trade, which may be that 
of a grocer, for instance. When Lucy is called in, 
Fanny asks her ^'of what trade is our favourite ?" 

Lucy. You must question me farther. 

Fanny. Is he a silversmith ? 

Lucy. No. 

Fanny. Is he the jeweller across the street ? 
Lucy. No. 

Fanny. Is he the bookseller at the corner ? 

Lucy. No. 

Fanny. Is he the cabinet-maker in the next street ? 

Lucy. No. 

Fanny. Is he the doctor that attends your family ? 

Lucy. No. 

Fanny. Is he the grocer that sells such good tea ? 

Lucy. Yes. 

All. It is a grocer. How could Lucy guess so rightly ? 



THE AMERICAN GIRL'S BOOK. 23 

The giris axe not aware that Lucy knew she might 
say ^^yes" to Fanny's next question after naming the 
doctor or professional man ] law, physic, and divinity 
being called professions. 

Mary goes out next, Fanny having first whispered 
to her that she would ask her the right question im- 
mediately after mentioning a lawyer. The trade 
fixed on for the favourite is watch-maker, and Mary 
of course guesses rightly after hearing a professional 
man named. 



There is a similar play called Four Legs, in which 
any word may be fixed on, such as hat, shovel, fish^ 
bonnet, &c. The word, which is mentioned immedi- 
ately before the right one, must be something that has 
four legs; as, dog, horse, table, sofa, chair, &c. When, 
for instance, the guesser having been previously asked 
a variety of words, hears the question ^' Is it a cat ?" 
she may safely reply '^ yes" to the next question ; a 
cat having four legs. 



^-ivs^ I li .(.1 . \ 




< 



O 
12; 



ffl 



THE AMERICAN GIRL'S BOOK. 25 

19. 

THE KING AND HIS TRAIN. 

Two of the tallest girls (who perform the warders 
as they are called) go into the middle of the room, 
and each takes a name, whispering the name to 
each other so as not to be heard by the rest. The 
names may be gold, silver, diamonds, pearl, lily, 
tulip, or any thing they please. The other children 
then range themselves in procession, each holding 
the skirt of the one directly before her. The two 
warders that stand in the centre of the room take 
each other's hands, and raise their arms as high as 
possible, calling out, as the procession passes under, 

" We'll open the gates as high as the sky 
And let the king and his train pass by," 

and trying to catch one of the little girls by putting 
their joined arms suddenly down^ so as to encircle 
her neck, The little girls must try to avoid this 
by stooping their heads as they pass under the arms. 
When one is caught, the two warders ask her in a 
whisper whether she chooses gold or silver, or a pearl 



26 THE AMEEICAN GIRL'S BOOK. 

or a diamond, according to the names they have 
taken. If she chooses gold, she goes behind the 
warder of that name, and stands there till the play 
is over, holding by her frock. Should she choose the 
other, she goes behind silver. The warders then 
raise their arms again, holding each other's hands, 
and the rhyme " Well open the gates," &c. is repeat- 
ed as before. The play goes on in this manner till 
the king and all his train are caught, and put behjnd 
one or other of the warders. After this, two girls 
of the next size become warders. 

Of those that form the procession the tallest is 
always king, and the others take their places ac- 
cording to height, the smallest walking last. 

The procession walks round the warders every time 
^previous to passing under their arms. 



SEWING SCHOOL. 

The girls sit down in a row, each taking a por- 
tion of her apron or frock and holding it up in both 
hands between her thumb and forefinger. One whp 



THE AMERICAN GIRL'S BOOK. 27 

Tepresents the mistress of the sewing-school, goes along 
the row and says to each one something about her 
sewing, endeavouring to engage the attention of the 
sewer while she (the mistress) takes an opportunity 
of striking it suddenly out of her hands. If the 
sewer is off her guard and allows her sewing to be 
struck down, she pays a forfeit. For instance. Sup- 
pose all the girls seated in a row, and holding their 
aprons so as to represent sewing. Fanny goes along, 
stopping at each and saying, *^ Lucy, have you come 
to the seam yet ? Mary, you are puckering your 
work. Anne, your stitches are too long. Ellen, you 
don't fasten off well. Jane, your thread is going to 
break. Rosa, your hem is crooked. Ah ! I have 
struck it out of your hand. You should have held 
it fast. So now give me something for a forfeit." 



SI. 

THE BLIND POINTER. 

One that performs the Pointer is blindfolded, and 
stands in the middle of the room holding a long 
stick in her hand. The others go round^ each a^ 



28 THE AMERICAN GIRI/S BOOK. 

she passes making- some noise, such as laughing, 
crying, coughing, sneezing, clapping her hands,.or 
stamping her feet. The pointer must endeavour to guess 
who she is by the noise, pointing the stick towards 
her and calling our her name. Whoever is guessed 
rightly becomes Pointer. 

THE HEN AND CHICKENS. 

One of the girls who personates a Fox takes her 
seat on the floor in the middle of the room. The 
others, having the eldest at the head, form a pro- 
cession holding each other's skirts in both hands, 
and walk round the Fox, the foremost girl who per- 
forms the Hen saying 

^^Chickan}' chickany craney crow, 
I went to the well to wash my toe, 
And when I came back a chicken was dead.^' 

The next girl repeats the same rhyme ; and so 
on till each has said it in her turn. Then they all 
stop near the fox, and the hen says "What are 
you doing, old fox ?" 



THE AMERICAN GIRL'S BOOK. 29 

Fox. Making a fire. 

Hen. What for ? 

Fox. To heat somo water. 

Hen. For what is the water ? 

'Fox. To scald a chickfn. 

Hen. Where will you get it ? 

'Fox. Out of your flock. 

At these words the fox starts up, and the hen and 
chickens disperse and run away in every direction. 
The fox pursues them, and when she succeeds in 
catching a cliicken, that chicken becomes fox, and 
seats 'herself in the middle of the room ; while the 
former fox takes the place of the hen at the head of 
the procession of cliickens. 



23. 



HUNT THE SLIPPER, 

The girls seat themselves on the floor in a circle 
in the middle of the room, all except one wiio 
remains out, as the hunter, and stands in the centre 
of the ring. A shoe or slipper is then taken oft, and 
they shove it about secretly from one to another, passing 
it behind their feet and behind their backs, and in any 
way that will prevent the hunter from seeing it. The 



m THE AMERICAN GIRL'S BOOK. 

hunter's object is to detect and snatch away the shpper 
while the girls are privately conveying it round the 
circle, and their aim is to prevent her from seeing it 
or from knowing who has it ; though the possessor 
frequently knocks on the floor with it, when the 
hunter is not looking towards her. As soon as the 
hunter gets hold of the slipper, she takes a seat in 
the circle, and the one with whom she has happened: 
to find the slipper then becomes hunter, 

24. 
THE THIMBLE. 

The company sit in a row holding together the 
palms of their hands. Fanny takes a thimble or 
any thing else that is small and round, (for instance, 
a hazel-nut or a shell-bark) and holding it between 
her palms, she goes along the line, pretending to 
drop it secretly into their hands, saying to each " Hold 
fast what I give you." Every one opens her hands 
as if she w^as receiving the thimble, and closes them 
again immediately. Of course the thimble is only 
in reality deposited with one. For instance, Fanny 
leaves it in the hands of Lucy* 



THE AMERICAN GIRL'S BOOK. 31 

After Fanny has in this manner gone all along 
the row, she returns to the head and asks Mary, who 
is seated there, to guess who has the thimble. Mary 
guesses Jane, who opens her hands and shows that 
she has it not. Tiiey all guess in turn. Susan 
happens to guess Lucy ; and this being right, Lucy 
displays the thimble and gives it to Susan. It is 
then Susan's turn to take the thimble and go along 
the row with it. 

Sometimes w^hen this is played, a forfeit is required 
from every one that guesses w^rong, and therefore a 
great number of pawns are speedily collected. 

25. 

THE TEN FINE BIRDS. 

The company sit in a circle, and the play begins 
by one of the girls saying, " A good fat hen :" this 
is repeated by the whole circle in turn, but only one 
must speak at a time. When all have said, " A good 
fat hen," the leader of the play begins again and 
gives out, " Two ducks and a good fat hen ;" which 
is also repeated separately by the whole company. 



32 THE AMERICAN GIRL^S BOOK. 

The next is, " Three squawking wild geese, two 
ducks and a good fat hen." After this has gone 
round as before the leader says, ^'Four plump 
partridges, three squawking wild geese, tv/o ducks, 
and a good fat hen." This having been repeated 
by all, the next that is given out is, " Five pout- 
ing pigeons, four plump partridges, three squawk- 
ing wild geese, two ducks, and a good fat hen." 
Afterwards, " Six long-legged cranes, five pout- 
ing pigeons, four plump partridges, three squawking 
wild geese, two ducks, and a good fat hen." Next, 
^' Seven green parrots, six long-legged cranes, five 
pouting pigeons, four plump partridges, three 
squawking wild geese, two ducks, and a good fat 
hen." Next, " Eight screeching owls, seven green 
parrots, six long-legged cranes, five pouting pigeons, 
four plump partridges, three squawking wild geese, 
two ducks, and a good fat hen." Next, " Nine ugly 
turkey-buzzards, eight screeching owls, seven green 
parrots, six long-legged cranes, five pouting pigeons, 
four plump partridges, three squawking wild geese, 
two ducks, and a good fat hen." Lastly, " Ten 
bald eagles, nine ugly turkey-buzzards, eight screech- 
ing owlsj seven green parrots, six long-legged cranes, 



THE AMERICAN GIRL^S BOOK. 33 

five pouting pigeonsj four plump partridges, three 
squaking wild geese, two dxicks, and a good fat hen." 
All this must go round the whole company every 
time, and be repeated separately by each. If any one 
hesitates or leaves out any thing, or makes a mistake^ 
she must pay a forfeit. 

The House that Jack built, (which is well known 
to all children) may be converted into a similar play ; 
each of the company first repeating separately " This 
is the House that Jack built ;" and so on till they 
have got through the whole, adding more every time 
it goes round, and paying a pawn for every omission 
or error- 

KING AND aUEEN. 

The company sit in two rows, facing each other. 
There must be an even number, as six, eight, ten or 
twelve. One row personates a range of gentlemen 
with a king sitting at the end. The opposite row is 
to consist of ladies, she at the head being queen. 



^4 THE AMERICAN GIRL'S BOOK. 

The king numbers all the gentlemen, 1, 2, 3, &c^ 
and they must remember their numbers. The queen 
numbers the ladies, but all their numbers must be 
different from those of the gentlemen. For instance, 
if the gentlemen are 1, 2, 3, 4, 5, the ladies must be 
6, 7, 8, 9, 10. 

When all is arranged, the king and queen each 
call out a number. If the king calls No. 2, he who 
bears that title must start up and run all round the 
company. The queen must at the same time call 
out one of her ladies ; for instance No. 8, and the lady 
myst pursue the gentleman all round. If she catches 
him before he gets to the king, he pays a forfeit. 
They then resume their seats, and it is the queen's 
turn to call first. She may call No. 10, and the king 
No. 4. The gentleman now pursues the lady, and if 
he catches her before she gets to the queen, she pays 
a forfeit. 

Sometimes in this play, all the odd numbers as 
1, 3, 5, 7, are allotted to the gentlemen, and the 
even numbers, 2, 4, 6, 8, are given to the ladies* 




27. 
THE DUTCH DOLL. 

All the company go out of the room, except two 
who are well acquainted with the play ; the others 
had better be ignorant of it. We will suppose that 
Fanny and Lucy are left together to prepare the doll, 
which doll is to be performed by Fanny. For this 
purpose she lies at full length under a table covered 
with a deep cloth, or that has large leaves descending 
nearly to the floor. Her face must be downwards. 
Lucy, having previously procured the necessary ar- 
iicles, dresses Fanny's feet with a frock or petti- 



36 THE AMERICAN GIRL'S BOOK. 

coat, adding a cloak or shawl and an old bonnet 
or hood, pinning and tying on the things so as to 
look something like a large and very dowdy doll. 
The company are then called in, and if the}^ have 
not seen a Dutch doll before, are at a loss to conceive 
what it can be. Before they come in, Fanny must 
raise her feet so that the doll appears to stand up- 
right ; and as soon as they enter she must begin 
to kick her feet up and down and shuffle them about 
in such a way as to make the doll seem to dance and 
jump and bow, and play all sorts of antics, frequently 
seeming to knock her forehead against the floor. If 
the doll is well performed, it is very laughabk, and if 
Fanny takes care to be well concealed under the 
table, no one unacquainted with the play can guess 
that it is set in motion by her feet. She must be sure 
to lie on her face. 

If a boy is in company, he should be made to per- 
sonate the dolL 



FARMERS AND MECHANICS. 

One leaves the room while the others fix on a 
trade, vv^hich when she returiis jthey must all ende^v- 



THE AMERICAN GIRL'S BOOK. 37 

our to represent by their actions, so that she can guess 
for what they intend themselves. When she gues- 
ses, the next in size or age goes out, and her compan- 
ions try something else. If, on coming in, she 
finds all her play-mates with chairs turned down 
which they push before them as if ploughing, or if 
they are tossing about their handkerchiefs with sticks 
as if making hay, she rightly guesses them to be 
farmers. If they are sitting on low seats and mend- 
ing their shoes, she knows them to be cobblers, or if 
they are seated on the tables cross-legged and sewing, 
they are meant for tailors. They may pretend 
to be sawing and planing like carpenters, hammering 
iron on anvils or shoeing horses like blacksmiths, 
spreading mortar with trowels and climbing ladders 
like brick-layers building a house, &c. They may, 
if they choose, all work at different parts of the same 
trade, provided always tLat every one is a farmer, a 
cobbler, a tailor, or whatever trade they have chosen 
for the whole. 

Ingenious children can make this play very amus* 



38 THE AMERICAN GIRL'S BOOK. 

29. 
BHE CAN DO I.ITTLE WHO CAn't DO THIS. 

One who understands the play takes the tongs and 
holds them in both hands, putting one hand on the 
head or knob of the tongs^ and the other on one of 
the legs. She must knock the points of the tongs 
three times on the floor, saying, " She can do little who 
can't do this." She then transfers them to her next 
neighbour, who, if unacquainted with the play, will 
not hold the tongs in the right way, and in both 
hands ; thinking that it is only necessary to knock on 
the floor with them and repeat the words. If she 
holds them wrong, she pays a forfeit, and in this way 
the tongs must be handed round to the whole compa- 
ny ; each repeating the words, and knocking three 
times on the floor. If none do right, the proper way 
is not to be explained till the play is over, that the 
more pawns may be collected. 

If any one knows the play and does it rightly, she 
must not tell the others, till all have tried it. 

Simple as this play is, very few, who are not familiar 
with it, will chance to hold the tongs in the proper 
manner. 




One of the company must be blindfolded with a 
handkerchief, tied round her eyes in such a manner 
that she cannot possibly see. She is then led into the 
middle of the room, and a rhyme is repeated while 
her companions are retiring from her reach. She then 
goes about the room endeavouring to catch somebody, 
and her playmates try their utmost to keep out of 
her way. No one, however, must leave the room, 
and no one must mischievously annoy the blind-giij 



40 THE AMERICAN GIRL^S BOOK. 

by pinching, pulling, or in any way teazing her^ 
If she approaches any thing that may hurt her, (the 
fire, for instance,) her companions must immediately 
call out to apprize her of her danger; It is better, be- 
fore the play begins, to take up and lay aside the 
hearth-rug, lest some one should catch her foot in it 
and fall. The fender also should be turned up on its 
two ends, as a sort of guard against the fire. When 
the blind-girl catches any one, she must endeavour 
to guess who it is, for which purpose she is allowed to 
pass her hands over the head and dress of her cap- 
tive. If she cannot guess, she must let the prisoner 
go, and try to catch some one else. The first girt 
that is caught, and guessed rightly, is the next to be 
blindfolded. 

Fanny. Well; Lucy, are you ready to be blindfolded ? (Fanny 
ties a handkerchief round Lucy^s eyes. J There now. Are you sure you 
do not see ? 

Lucy. I never cheat when I play. 

Fanny. I know you are very honourable. But when Sarah Gran- 
by plays blindman's buff, she always manages to slip up the bandage, 
in such a way, that she can see all the time, and catch whoever she- 
pleases. There now, give me your hand; (She leads Lucy into th& 
middle of the room,) 
How many horses are in your father^s stable T 



THE AMERICAN GIRL^S BOOK. 41 

EtJCY. Three. 

Fanny. Of what colours are they t 
Lucy. Black, white, and grey. 

Fanny. Turn round three times and catch who you may. 
(Lttcy extends her hands, and turns round three times, the girls 
all taking care to he out of her reach. She then gropes about 
for some time, and catches no one. Once she gets the skirts 
of Rosa's frock between her thumb and finger, but her hold be- 
ing very slight, Rosa easily disengages herself and makes her 
escape, Lucy then catches Ellen by the end of her sash, and 
Ellen gets away by untying the sash, and leaving it in Lucifs 
hand.) 
Lucy. I have somebody now. Why, no— I believe it is only a- 
ribbon. Ah ! there has been some trick-. 

Jane. (In a low voice.) Ellen, is this quite fair T 
Fanny. No, indeed it is not. However, we will pass it overi I 
know, Lucy likes to be blindfolded. 

Jane. That's more than I do. When I am blinded, I am afraid to 
iiiove a step. But I see that Lucy rambles about quite briskly, notwith- 
standing the bandage over her eyes. 

Fanny. Hush ! she will distinguish you by your voice. (Mary 
slips into a closet.) Now, Mary, come out of the closet. That really 
is not fair. 

Lucy. Ah! I hear a cluster of you laughing in yon corner. I will 
be among you in a moment. 

(Lucy goes to a corner where several of the girls have retreatect, 
and catches Isabel by the arm. The others, having crouched 
down, slip away, creeping along the floor.) 
Fanny. Well, Lucy ! who have you there 1 
Lucy. It is Mary. I know her by the stiffening in her sleeves. 

(They all laugh and exclaim, " Oh, no I no /'V 
Fanny. You are mistaken 3 it is Isabel i she also has stiffened 
sleeveSr You must let her go, and try to catch some one else. (Lue^r 



42 THE AMERICAN GIRL S BOOK. 

releases Isabel j and goes abeut in quest of another, Anne hides behind 
the window curtain.) 

Lucy. Ah ! I am near the window. I feel the fringe of the curtain. 
And some one is hidden behind it. (She presses the curtain closely 
around Anne, who laughs.) That is Anne's laugh. I have caught her 
in a trap. Come out; Miss Anne. It is your turn now. 

{8he takes off the handkerchief, and blindfolds Anne.J 



31. 
THE BELLS OF LONDON, 

This should be played in a field, or in some 
place where there is no danger of being hurt by fall- 
ing. 

The two tallest of the company join their hands 
and raise them high above their heads, while the 
others, (each holding the skirt of the one before her,) 
walk under in procession, as in the King and his 
Train. The two, that are holding up their hands, 
sing the following rhymes : — 

" Oranges and lemons, 
Say the bells of St Clements } 
Brickdust and tiles, 
Say the bells of St Giles ; 
You owe me five farthings, 
Say the bells of St Martin's 5 



THE AMERICAN GIRL'S BOOK. 43 

When will you pay me ? 

Say the bells of Old Bailey 3 

When I grow rich, 

Say the bells of Shoreditch 3 

When will that be ? 

Say the bells of Stepney 3 

I do not know, 

Says the great bell of Bow." 



At the last line, they suddenly lower their arms, 
and endeavour to catch one of those that is passing 
under. Having each previously fixed on a name, 
(for instance, one Nutmeg, the other, Cinnamon,) they 
ask their captive which she chooses. Nutmeg or Cin- 
namon. Accordingly as she answers, she is put be- 
hind one or the other. When all have been caught 
and placed behind, those at each end join hands, so as 
to encircle the two in the middle ; and they must 
wind round them till they get closer and closer. The 
rhyme " Oranges and lemons," &c. is then repeated ; 
and at the words " Great bell of Bow,'' those in the 
centre must give a sadden push and extricate them- 
selves by throwing down all the rest. 




W 

I— ( 

m 
m 



THE AMERICAN GIRL'S BOOK. 45 

32. 
THE PRUSSIAN EXERCISE. 

All the children kneel down in a row, except one 
who personates the captain, and who ought to be a 
smart girl and well acquainted with the play, which is 
more diverting when all the others are ignorant of it, 
except the one ai the head of the line. If the cor- 
poral, as this one is called, does not know the play, the 
captain must take her aside and inform her of the 
manner of concluding it. 

When all are ready, the captain stands in front of 
the line and gives the word of command, telling them 
always to do something that has a diverting or lu- 
dicrous effect, when done by the whole company at 
the same moment. For instance : the captain gives 
the word to cough, and they must all cough as loudly 
as possible. They may be ordered to pull their own 
hair ; to pull their own noses ; to slap their own 
cheeks ; to clap theii* hands together ; to laugh ; to 
wink their eyes ; or do any other ridiculous thing.o 
All. however, must be done at once, and by the whoi^ 
line, the corporal setting the example. 



46 THE AMERICAN GIRL'S BOOK. 

Finally, the captain orders them to " Present.'^ 
Each then projects forward one arm, holding it out 
straight before her. The next command is to " Fire." 
Upon which the corporal gives her next neighbour a 
sudden push, which causes her to fall against the next, 
and in this manner the whole line is thrown down 
sideways, one tumbling on another. 

This is rather a boisterous play, but it can be made 
very laughable ; and there need be no fear of the 
children getting hurt in falling, if they play on the 
grass, or in a hay-field, or if they take the precaution 
of la}dng cushions, pillows, or something soft, at the 
end of the line to receive the one that falls last ; 
she being in the most danger. 

There are few of these diversions that will not end 
in hurts and disasters if played rudely and mis- 
chievously. But, if conducted with proper discretion^ 
no objection need be made to them. 

33. 
DRESSING THE LADY. 

First decide that a certain colour shall not be men- 
tioned, under penalty of a forfeit ; for instance, you 



THE AMERICAN GIRL'S BOOK. 47 

may interdict either green, blue, yellow, or pink. 
One asks, " How shall my lady be dressed for the 
ball ?" Each in turn proposes an article of dress ; if 
any one mentions the forbidden colour, she must pay 
a forfeit. When the dress of the lady is completed^ 
the pawns or forfeits must be sold. Sometimes two 
colours are prohibited. 

3B):antple. 

Fanny. What colour shall we avoid mentioning ? 

Lucy. Black. 

Fanny. Let us forbid white also. We shall collect the more forfeits 
if two colours are excluded. Therefore let no one mention either black 
or white. How shall my lady be drest for the ball 1 

Lucy. She shall have a yellow silk frock. 

Mary. With green satin trimming. 

Lydia. Pearl necklace and bracelets. 

Susan. White satin shoes. 

Fanny. Ah ! a forfeit already. You should not have said, white 
satin. 

Susan. Oh ! why did not I think of black satin shoes ? 

Fanny. That would have been as bad. You forget that black is 
prohibited, as well as white. 

Susan. Well, take these scissors as a forfeit. Come, let the play 
go on. 

Jane. My Indy shall have a blue gauze scarf. 

Anne. Pink ribbon to loop up her sleeves. 

Ellen. White kid gloves. Long gloves. 

Fanny. White kid. A forfeit again. 

Ellen. But nobody wears coloured gloves at a ball. 

Fanny. Then you need not have mentioned the glove s. 



48 THE AMERICAN GIRL'S BOOK. 

IJllen. This card -will do for a forfeit. 

Isabel. My lady shall have scarlet flowers in her hair. 

Fanny. What a variety of colours ! She will look like a great bunch 
x)f flowers. 

Catherine. A purple velvet reticule. 

Rosa. A black velvet belt. 

Fanny. Black velvet — black — a forfeit/ Rosa. 

Rosa. But no other velvet would look so well for a belt as black. 

Fanny. No matter 3 3'ou should have said something else. Where 
is your forfeit ? 

Rosa. Take this chestnut. 

Fanny. Well, I believe my lady is sufficiently drest 5 sO; Lucy, the 
play ma}^ go round again, and you may dress yours. 

Lucy. This time the forbidden colours shall be blue and green. 
So '' how shall my lady be.drest for the ball V 

34, 
THE THRONE OF COMPLIJMEJ^T^, 

The girls take it in turn to be the Lady Fair, be- 
ginning with the tallest, who takes her seat on a chair 
at the upper end of the room. The others all remaiia 
at the lower end in a row, except one who stands in 
the middle of the apartment and is called the Judge* 
When all are ready, jevery one makes a low curtsy 
io the lady, and the judge says : 

*' The Lady Fair sits like a queen on her throne^ 
Give her your praises^ and let her alone." 



THE AMERICAN GIRL^S BOOlC. 4B 

Each of the girls in turn goes up to the judge, and 
whispers something in praise of the lady, taking care 
to remember what it is. When the compliments have 
all been paid, the judge repeats them aloud, one at a 
time, and the Lady Fair endeavours to guess the au- 
thor of each comphment, and the judge tells her 
whether she is right or wrong. Whenever the Lady 
guesses wrong; she pays a forfeit, all of which she 
is to redeem before another takes the throne. The 
most accurate way of recollecting the compliments is 
for the judge to have a slate, and write them all down 
as she hears them. 

Lucy. Fanny; you are the tallest, so you must be our first Lady 
Fair 5 and, as I am the next in heig^ht, I will be Judge. Come, girls, 
range yourselves in a row at the bottom of the room, while I stand in 
the middle with my slate, and Fanny takes her seat at the upper end. 
Are you all ready ? Then let us make our curtsies. (They curtsy to 
Fanny.) 

" The Lady Fair sits like a queen on her tlii'one, 
Give her your praises, and lei her aloue. '' 

(The girls go up one at a time to Lucy, and whisper to her some- 
thing in compliment to Fanny, which the judge writes down 
on her slate.) 

Well, have you all paid your compliments ? Then I will read them 
lo the Lady Fair. (She reads.) 

4 



50 THE AMERICAN GIRL'S BOOK. 

Somebody says, Ihe-Lady Fair is very good-tempered. 

Tanny.. Tliat was Susan. 

Lucy. No, it was Lydia : So, a forfeit from your ladyship. 

Fanny. As the forfeits will be all mine, and as I expect to have ma->^ 
sjy, I will give for each forfeit a flower from this nosegay. So here is 
a rose-bud. Now go on. 

Lucy. Some one said, the Lady Fair has very bri^t eyes. 

Fanny. That was Jane. 

Lucy. No, it was Isabel. So, another forfeit. Some one says, the 
Lady Fair has beautiful ringlets. 

Fanny. That was Catherine. 

Lucy. Yes, it «?a^ Catherine. Some one says^ the Lady Fair sings 
Very well. 

Fanny. Rosa said that. 

Lucy. Noj Susan said it. "So, a forfeit. Somebody says, the Lady 
Fair dances gracefully. 

Fanny. That was Mary. 

Lucy. No — it was Ellen. A forfeit again. Some one said, the 
Lady Fair always minds her slops when she reads aloud. 

Fanny. That must be Jane. 

Lucy . No 5 it was Rosa. So a forfeit again. Somebody said, the 
Lady Fair takes short stitches when she sews. 

Fanny. Anne must have said that. 

Lucy. You are right this time 3 it was Anne. Someone said, the 
'Lady Fair is clever at all sorts of plays. 

Fanny. That was Mary. 

Lucy. No, it was myself. That is the compliment that I have writ- 
ten at the close of the list. But, as you guessed wrong, one more for- 
feit . You have now six pawns to redeem. When that is done, I shall 
have the honour of being Lady Fair, and Susan will perform the 
Judge. 



THE AMERICAN GIRL'S BOOK. 51 

35. 
THE APPRENTICE. 

She that begins the play says, that she apprenticed 
her son to a tailor, shoemaker, grocer, or any other 
mechanic or tradesman, and she mentions the initial 
letters only of the first article he made or sold. The 
other girls endeavour to guess her meaning. If all 
are unable to discover it, and therefore give it up, she 
again apprentices her son. -Whoever guesses rightly, 
takes her turn. This can be played by two only, or 
by any number. 

Fanny. I apprenticed my son to a grocer, and the first thing he sold 
was C. 

Mary. Coffee — coffee — 

Fanny. No 3 I did not-mean coffee. 

Jane. Chocolate. 

Fanny. Right. Now it is your turn. 

Jane. I apprenticed my son to a confectioner; and the first thing he 
sold was M. S. 

Lucy. Oh ! Mint-stick — mint-stick. Well, I also apprenticed my 
son to a confectioner, and the first things he sold were B. A. 

All. B. a. We never can guess B. A. 

Lucy. Try. 

Ellen. Oh ! Burnt Almonds. I apprenticed my son to a cake- 
rbaker, and the firslthings he made were G. N* 



52 THE AMERICAN GIRL'S BOOK. 

Lucy. G. N. What can G. N. be ? (Th£.y all ponder awhile^ and 
at last agree to give it up.) 

Ellen. Gingerbread-nuts. 

Mary. Oh ! wh}'^ did not I think of them; when I like them so much ? 
You again; Ellen. 

Ellen. I apprenticed my son to a gardener; and the first root he 
planted was a T. 

Mary. A tulip. 

Ellen. Yes ; a tulip. 

Mary. I apprenticed my son to an iron-monger, and the first thing 
he sold was a F. P. 

Jane. A frying-pan. 1 apprenticed my son to a cabinet-maker, 

and the first thing he made was a C. T. 

Fanny. , A Centre-Table. I apprenticed my son to a stationer, and 
the first thing he sold was S. W. 

Ellen. Sealing-Wax. I apprenticed my son to a stationer, and the 
first thing he sold was an A. 

Mary. An A — An A. I give it up. 

All. (after a pause.) We all give it up. 

Ellen. An Almaaack. 

Mary. I thought only booksellers sold almanacks. 

Ellen. And stationers also. When I go into a store, I always look 
round attentively, and try to remember every thing I see there. 

36. 
THE TRAVELLER. 

One personates the Traveller, others take the 
names of Landlord, Landlady, Chambermaid, Waiter, 
Ostler, and Boot-cleaner, and the rest are denominated 
Horse, Saddle, Bridle, Oats, Boots, Slippers, Supper, 



T HE AMERICAN GIRL'S BOOK. 53 

Candle, Bed, (fee. ; all the names having reference to 
an inn or tavern, and to the probable wants of a 
traveller. 

When all the others are seated round the room, the 
Traveller comes in, and says, " Landlady, can I have 
supper and a bed here to-night ?" Upon this. Land- 
lady, Supper, and Bed all start up together. The 
Traveller may then say, ^' Landlord, I want a bottle 
of cider and the newspaper." If any are named 
Cider and Newspaper, they must start up with the 
Landlord. The Traveller then calls the ostler, to take 
the saddle and bridle off his horse, and feed him with 
oats. Upon which Ostler, Horse, Saddle, Bridle, and 
Oats, all start up as soon as they hear their names. 
The Traveller then desu'es the waiter to bring him his 
supper, and then Waiter and Supper respond. Last- 
ly, he calls the chambermaid to bring him a candle^ 
and the boot-boy to bring him slippers and take his 
boots ; upon which. Chambermaid, Candle, Boot-boy, 
Shppers, and Boots, all rise. If any one omits getting 
up, when her name is mentioned by the Traveller, 
she pays a forfeit. 

With a smart Traveller, this play may be made 
very amusing. Any thing may be said that brings ixi 
the names of the company, 




m 
P 

o 

C5 



THE AMERICAN GIRL'S BOOK. 58 

MAGICAL MUSIC. 

One of the company leaves the room, and the others 
fix on something to be done by her when she returns,^ 
such as looking in the glass, snuffing the candle, 
sweeping the hearth, pouring out and drinking a glass 
of water, reading a book, &c. After they have come 
to a decision, she is called in, and tries to discover her 
allotted task by attempting whatever she thinks most 
probable. In the mean time, one of her companions 
is seated at the piano, and strikes a key slowly as long 
as the experiments are going wrong. When they 
seem likely to succeed, she touches the key more rap- 
idly ; and when exactly right, she strikes as fast as 
possible. If there is no piano in the room, a hand- 
bell rung slowly oY rapidly will do as weU, or the 
striking of a large door-key against the tongs or shovel 
may be substituted. 

Maria, Julia, Sophia, Harriet, Louisa, Helen, aiid several others, all 
seated in a row, and arranged according to their size. 
Maria. Harriet, as you are the tallest^ you must go out first, and 
wait in the entry till we have decided on something for you to do. Shut 
l4ie door very tightly, Harriet, and be sure not to listen. 



56 THE AMERICAN GIRL'S BOOK. 

Harriet. Can you suppose I would be ^^uilty of any thing so dis- 
honourable ? ^ (She goes out.) 

Maria. Now what shall be her task ? 

Louisa. Let her take up a book, and read in it. 

Helen. Let her raise the sash, and look out of the window. 

Sophia. Let her go to the side-board, pour out a glass of water, and' 
drink some of it. 

Maria. Yes, that will do very well. Julia, do you sit down to 
the piano. 

(Julia takes her seat at the instrument, and Maria gees to the door 
and calls in Harriet, who immediately approaches the looking- 
glass to survey herself. This not being right, Harriet touches 
the piano very slowly, Harriet then goes to the table and takes 
up a book ; the piano is still sloio. She then attempts to look 
out of the window ; the piano continues slow. Next, she goes 
towards the side-board, and Julia strikes the piano a little fas- 
ter. Harriet takes up the water-pitcher, and the piano goes fas- 
ter still. She pours some water into a glass, and the piano is 
still faster ; she drinks the water, and the piano goes as fast 
as possible, the girls exclaiming, '^ That's right, that's right.''' 

Maria. Sophia, you are next. ( Sophia goes out.) 

Helen. Let Sophia's task be to play a little on the piano. 

Maria. Excellent. It will be a long time before she thinks of that. 
(Opening the door.) Come in, Sophia. 

(Sophia sweeps the hearth, snuffs the candles, removes the cushion from 
the sofa, piles one stool on another^ opens a work-basket and 
begins to sew, dances a few steps, and attempts several other 
things, the piano all the time going slowly. At last, the right 
thought happens suddenly to enter her head. She approaches the 
piano, and Julia touches it faster. Sophia then goes behind 
Julia, who is seated on the music-stool, and stretching out her 
arms over Julians shoulders, she plays with both hands a fiv^ 



THE AMERICAN GIRL'S BOOK. 57 

lines of a popular song, singing the air ; Julia all the time 
touching the piano as fast as she can, but very softly.) 

Maria. Well, Sophia, you hare guessed it at last. I was afraid, 
for awhile, you would be obliged to give it up in despair. 



38. 
CHITTERBOB. 

The company are to sit in a row, and the follow- 
ing is to be • repeated by each in turn, without the 
slightest variation or mistake. 

There was a man and his name was Cob, 
He had a wife and her name was Mob, 
He had a dog and his name was Bob, 
She had a cat and her name was Chitterbob, 

'' Bob," says Cob 5 

'' Chitterbob,'^ says Mob. 
Bob was Cob's dog 5 
Chitterbob was Mob's cat — 

Cob, Mob, Bob and Chitterbob. 

If, in reciting the above lines, any mistake is made, 
however slight, the delinquent is to have a long piece 
of paper twisted into her front hair in such a manner 
as to stand out and resemble a horn. If the play goes 
round several times, it is probable that most of the 
players will have three or four horns on their heads. 



&8 THE AMERICAN GIRL'S BOOK. 

Some paper should be previously prepared. 

These horns answer the same purpose as pawns or 
forfeits, and are to be taken off one by one when re- 
deemed. The pawn-seller is as usual to be bUndfold- 
ed, and the crier of the pawns is to touch one of the 
horns, and say, " How shall this lady get rid of her 
horn ?" The pawn-seller then proposes one of the 
customary methods. 

39. 
HOW DO YOU LIKE IT ? 

One leaves the room, while the others fix on a 
word that has two or more meanings, as sash (of a 
window, or of silk,) corn a sort of grain, and corn on 
the toe, &c. The absentee is then called in, and goes 
round the company inquiring of each, " How do )^ou 
like it ?" All the replies must be in reference to the 
signification of the word in one or other of its mean- 
ings. She, whose answer causes it to be rightly 
guessed, is the next to go out. 

Maria,. WeJl, now we have sent Julia into the entry, what word 
shall we fix on ? 



THE AMERICAN GIRL'S BOOK. b9r 

Louisa. Box — that has several meanings : box, a chest 5 box at the 
theatre 3 box, a garden plant. 

Maria. Right. Box it shall be. Come in, Julia. (Julia comes ifif 
und addresses Maria.) 

JutiA. Well, Maria, how do you like it ? 

Maria. I like it of red morocco. 

Julia. How do you like it, Helen 7 

Helen. I like it green and flourishing. 

Julia. And you, Louisa ? 

Louisa. I like it front and not crowded. 

Julia. Of red morocco — green and flourishing — front, aod no 
crowded — what can it be ! Well, Sophia ? 

Sophia. Of painted velvet. 

Julia. How do you like it, Emily ? 

Emily. Filled with agreeable people, who are attentive to what 
tbey see. 

Julia. Of painted velvet — filled with agreeable people — I am 
more puzzled than ever. Well, Caroline, how do you like it ? 

Caroline. Full of sugar-plums. 

Julia. Ah ! I know what it is — a box — a box — I wonder I was 
so long guessing. 

Maria. Come, Caroline, you must go out, as Julia took the idea 
from your answer. 

Caroline. Do not give me any thing that is very difficult. fSJve. 
goes out./ 

Maria. What word shall we have fop her ? 

Julia. As Caroline is the youngest among us, we will, as she 
gays, give her something easy. 

Sophia. Lock — lock, a fastening — a lock of hair. 

Maria. That will do. Come in, Caroline. (Caroline returns.). 

Caroline. How do you like it, Maria ? 

Maria. Of brass. 

CiROLiNE. Well, Helen ? 



60 THE AMERICAN GIRL'S BOOK. 

Helen. Soft and silky. 

Caroline. Of brass — soft and silky — how can it be both ! Now, 
Louisa ? 

Louisa. Of jet-black. 

Caroline. Well, Sophia ? 

Sophia. I like it with a cut-glass handle ? 

Caroline. What can it be ? How do you like it, Emily. 

Emily. Curled in ringlets. 

Caroline. It must then be hair. And yet of brass, and with a 
glass handle — Oh ! a lock, a lock. 

Emily. You are right. As you guessed it from me, I will go 
out, 

40. 

WHAT IS MY THOUGHT LIKE ? 

The company having taken their places, the one at 
the head of the row thinks of a word ; for instance, 
the sun, the river, a bonnet, a frock, and asks the 
others " what her thought is hke ?" The first reply- 
is made by the one next to the thinker, and so on till 
each has in turn given an answer. As none of 
them know the thought, the reply is of course always 
at random, and may be " like a pin," " like a glove," 
" like the wind," &c. The thinker must remember 
by whom each answer was given ; and when all have 
made their replies, she proclaims her though^ and 



THE AMERICAN GIRL^S BOOK. 61 

each must give a reason why her answer resem- 
bles the thought. Whoever is unable to find a rea- 
son must pay a forfeit. Afterwards it is the turn of 
the one next to the head to have a thought. 

Maria. Julia^ what is my thought like ? 

Julia. Like rain. 

Maria. Louisa, what do you say ? 

Louisa. Like a flower. 

Maria. Well, Charlotte ? 

Charlotte. Like a bell. 

Maria. Sophia, you are next, 

Sophia. Like an owl. 

Maria. Come, Helen ? 

Helen. Like a star. 

Maria. And now Emil3% 

Emily. Like a cheese. 

Maria. Rain — a flower — a bell — an owl — a star — a cheese. 

Julia. I cannot imagine what thought can be like all these things. 

Maria, My thought was the moon. Julia, why is the moon like 
rain ? 

Julia. Because it raises the rivers. You know the moon, acting 
on the waters, causes the tide to rise, and that the waters will rise also 
When swelled by the rain. Do not you recollect reading the other day 
in the newspaper an account of a great freshet, that overflowed the 
banks of a creek, and carried trees and houses away with it ? 

Maria. Oh ! yes 5 your explanation is very satisfactory. And 
now, Louisa, why is the moon like a flower ? 

Louisa. Because there is every day some change in it. 

Maria. Charlotte, why is the moon like a bell ? 



62 THE AMERICAN GIRL'S BOOK. 

Charlotte. A bell — a bell — I am sure I can never find any re- 
semblance between the moon and a bell. I know not what to say. I 
give it up. 

Maria. Then you must pay a forfeit. 

Charlotte. Here, take my handkerchief. 

Maria. Sophia, why is the moon like an owl ? 

Sophia. Oh ! that is easy enough. Because it does not appear 
in day-light. 

Maria. Helen, why i& the moon like a star ? 

Helen. Because it shines only at night. That comparison is very 
easy also. 

Maria. And now, Emily, why is the moon like a cheese ? 

Charlotte. I suppose she will say, because it is in the shape 
of one. 

Emily. No, I will not 5 for a cheese is circular, but not globular. 
It is flat on both sides, and the moon is round like a ball. 

Charlotte. Well, I have seen little Dutch cheeses that are as 
round as balls. 

Emily. Pho — I will try to say something better than that. (She 
pauses.) 

Maria. Come, Emily, have you done considering ? 

Emily. The moon is like a cheese, because it is largest in the east. 
That is, the moon looks largest when rising in the eastern part of the 
sky, and the largest cheeses are made in the eastern part of the Union. 

Maria. That's a very far-fetched explanation. However, we'll 
accept it. Julia, it is now your turn to have a thought. 

Julia, (after a jnoment 0/ meditation.) Well then, Maria, wba4 
is my thought like ? 

Maria. Like an amiable woman. 

Julia. You are next, Louisa. 

Louisa. Like a large plum-cake. 

Julia. What is my thought like, Charlotte t 

'<Charlotte. Like sand. 



THE AMERICAN GIRL'S BOOK. 63 

Julia. What is it like; Sophia ? 

Sophia. Like a rose. 

Julia. Well, Helen ? 

Helen. Like dancing. 

Julia. And now, Emily, what is my thought like t 

Emily. Like a lion. 

Julia. My thought is a rose. 

Sophia. Ah ! a rose. How strange ! 

Julia. I have now to learn why a rose is like an amiable woinaiiy 
a large plum-cake, sand, dancing; and a lion. Maria, what do you 
say ? 

Maria. The rose is like an amiable woman, because her sweetness 
remains long after her beauty has gone. 

Julia. Louisa, why is a rose like a large plum-cake. 

Louisa. Ah ! I am very much puzzled. Because roses and plum- 
cakes are indispensable at evening parties. I can think of nothing 
better. 

JuLi^ Well, Charlotte, why is a rose like sand 1 

Charlotte. Because it is easily scattered by the wind. 

Julia. Sophia, your comparison happened accidentally to be the 
same as my thought — a thing that very rarely occurs. However, 
when it does, the penalty is a forfeit. 

Sophia. Do not call it the penalty 3 for my having chanced unwit- 
tingly to fix upon a rose, as you did, is a misfortune, and not a fault* 
'Ho wever, take my fan as a forfeit. 

Julia. Helen, why is a rose like dancing ? 

Helen. Because it is only becoming to young people. 

Julia. And why, Emily, is a rose like a lion ? 

Emil¥. Because it is one of the emblems of England^ 



64 THE AMERICAN GIRL'S BOOK. 

41. 
THE LAWYER. 

This must be played by an odd number, as seven ^ 
nine, eleven, thirteen, that there may be one to per- 
sonate the lawyer, after all the others have arranged 
themselves in pairs. 

The company must seat themselves in two rowsj 
facing each other, each girl taking for a partner the one 
opposite. She, that performs the lawyer, walks slowly 
between the lines, addressing a question to whichever 
she pleases. This question must not be answered by 
the one to whom it is addressed, but the reply must 
be made by her partner. If she inadvertently an- 
swers for herself, she must pay a forfeit ; so also must 
her partner if she forgets or neglects to answer for her 
companion. 

Maria. Now let us arrange the chairs in two rows^ that you may 
all take your seats facing each other. Julia^ you shall be Harriet's 
partner 3 Louisa shall be Charlotte's 3 Helen shall be Emily's 3 and 
Matilda be Eliza's : — I will be the lawyer and ask the questions. 
Each must remember that she is not to reply herself; but she is to let 
her partner answer for her. 

( They seat themselves in two rows. Maria goes to the head of the 
line^ and stands Jirst between Julia and Harriet,) 



THE AMERICAN GIRL'S BOOK. 65 

Maria. Julia, do you go into the country to-morrow ? 
Harriet. No 3 she does not go till Thursday. 
Maria. Louisa, is your new work-box of velvet or morocco ? 
Charlotte. Her new box is of beautiful painted velvet. 
Maria. Helen, have you begun to learn French ? 
Emily. Yes, she began last week. 
Maria. Matilda, has your cut finger got well ? 
Eliza. Not quite. 

Maria. Eliza, what is your last new book ? 
Eliza. Tales for Ellen. 

Maria. Ah ! a forfeit. You should have waited till Matilda re- 
plied for you. 

Eliza. There, there, you may take my shoe. 

Maria. Eliza, which of the Tales for Ellen do you like best ? 

Matilda. The Little Blue Bag. 

Eliza. This time I was on my guard not to answer. 

Maria. Emily, is not your frock too tight ? 

Helen. No, quite the contrary. 

Maria. Louisa, which do you prefer — maccaroons or rock-cakef t 

Louisa. Maccaroons, certainly. 

Maria. A forfeit — a forfeit — you should not answer for yourself. 

Louisa. Here is my waist-ribbon. f Taking it off.) 

Maria. Harriet, did you ever before play at the Lawyer t 

Julia. Yes, frequently. 







42. 



THE ELEMENTS. 



A liable] kv-.rclrlef is pinned up into the shape of a 
round ball. The girls sit in a circle. She, that is to 
begin the play, takes the ball and throws it to one of 



THE AIVIERICAN GIRL'S BOOK. 67 

her companions, calling out either " earth/' ^^ air/' or 
" water ;" fire being omitted, as that element has no 
inhabitants. The girl to whom the ball is directed 
mustj on catching it, reply by giving th'C name of an 
animalj proper to the element that has just been men- 
tioned. If the word is " air," the answer must be 
" eagle," " vulture," " hawk," or any other bird. If 
the word is " water," the reply may be " w^hale," 
'- shark," " poi'poise." If the element is " earth," 
the answer must be the name of a beast, as ^' lion," 
" tiger," " bear," (fcc. If she that is addressed does 
not reply promptly, or makes a mistake and names a 
bird when she should have mentioned a beast, she is 
to pay a forfeit. The one, that receives the ball, then 
throws it to another, calling out one of the elements, 
and so the play goes round. 



Maria. (Throwing the ball to Helen.) Earth ! 
Helen. Panther. (She throws the ball to Louisa.) Air ! 
Louisa. Woodpecker. (She throws it to Julia.) Water ! 
Julia. Shad. (Throws it to Sophia.) Water ! 
Sophia. (Starting,) Oh ! what am I thinking of! Turkejr- 
turkey — 



68 THE AMERICAN GIRL'S BOOK. 

Maria. Ha, ha, ha ! Do turkies live in the water ? 

Sophia. Oh ! no. I meant turtle. However, I see I am too late* 
Here is this pencil as a forfeit. (She throws the ball to Maria.) 
Earth ! 

Maria. Buffalo. (Throwing the ball to Harriet.) Air ! 

Harriet. Mocking-bird. ( Throws the ball to Emily .) Water! 

Emily. Rock-fish. (Throwing the ball to Charlotte.) Air ! 

Charlotte. Duck. 

Helen. Now, Charlotte, that does not seem exactly right. A duck 
is a bird, to be sure, but does it ever fly in the air ? Earth is its proper 
abode. 

Charlotte. You are very particular. Do not wild-ducks fly in 
the air ? And very high too, and in large flocks. 

Helen. Then you should have said '' wild-duck." 

Emily. And ducks also swim in the water. 

Maria. Well, I believe we must admit the word ^' duck" as a suf- 
ficiently good answer, whether the word is air, earth; or water 3 ducks 
being found in all those three elements. 

Helen. But always say '' m/c^-duck," if the word is " air." 



THE AMERICAN GIRL'S BOOK. 69 

43. 
THE SECRET WORD. 

One of the company leaves the roonij and the others 
fix on a word ; such as " Uke," '' care/' " sight." 
" leave," " hear/' (fcc. which is to be introduced into 
all their answers to the questions she must put to them 
on her return. When the word is decided on, she is 
called in, and asks a question of each m turn. In 
replying, every one must contrive to use the secret 
word without emphasizing or making it conspicuous. 
If the questioner remarks the frequent recurrence of 
the same word in the answers, she will easily be able 
to guess what it is. The one, from whose reply she 
has made the final discovery, then in her turn leaves 
the room while the next word is fixed on, and, on her 
return, becomes the questioner. 

Maria. Do you go out, Emily. (Emily leaves the room.) Noav 
what shall be the word ? 



70 THE AMERICAN GIRL'S BOOK. 

Helen. ^' Fear/' or ^' love.'' 

Julia. Will not those words be too conspicuous ? Let us try 
'' like." 

All. '* Like— like"— let it be '' like." Come in^ Emily. 

Emily, (returning,) Maria, do not you think the weather is very 
warm this evening ? 

Maria. Not warmer than I like it. 

Emily. Julia, are you fond of water-melon ? 

Julia. No — I like cantelope better. 

Emilt. Helen, have you read Mrs. Hofland's Daughter of a 
Genius ? 

Helen. Yes, and I do not like it so well as her Son of a Genius. 

Emily. Matilda, were you up early this morning ? 

Matilda. Very early — I always like to rise with the lark. 

Emily. Harriet, did you make that reticule yourself? 

Harriet. I did. I like to make reticules, pincushions, needle- 
books, emery-bags, and every thing of the sort. 

Emily. '' Like" — I have guessed it. *' Like" is the word. 

Harriet. So it is. Now I will go out. (She goes,) 

Charlotte. '^ Saw" — let '^ saw" be the word. 

Maria. Very well. Come in, Harriet. (Harriet comes in.) 

Harriet. Maria, when did you see Clara Simmons 1 

Maria. I saw her the day before yesterday, when I was walking 
with Julia. 

Harriet. Julia, was Clara Simmons quite well ? 

Julia. Quite ; I never saw her look better. 

Harriet. Louisa, are you not very much pleased with your hand- 
some new drawing-box ? 

Louisa. Very much. But I saw one in a store yesterday that was 
still more complete than mine. 

Harriet. Charlotte, are you acquainted with Laura Morton ? 

Charlotte. I saw her once at a dancing-school ball; but I have 
no acquaintance with her. 



THE AMERICAN GIRL'S BOOK. 71 

Harriet. Emily, do not you think the new table in your honey- 
suckle arbour is quite too high ? 

Emily. Yes 5 but the carpenter is coming to-morrow to saw off a 
piece from each leg", and then it will be a proper height. 

Harriet. ^' Saw'' — ^' saw" is the word. 

Maria. Ha, ha, ha ! Emily, 3'ou had better not have used the 
word saw in that sense. You see, Harriet guessed it immediately. 

Emily. No matter. I have not the least objection to going out 
again. 



44. 



MANY WORDS IN ONE. 

One of the company having left the room, the 
others fix on a word for her to guess. The word 
may be " Cake." She is called in, and stops before 
the first one in the row, who says " Cap." She goes 
to the next, who says " Apple ;" the third says " Ket- 
tle," and the fourth says " Egg ;" each taking care 
to mention a word whose first letter is one that is 
found in the word " Cake," and to say them in regular 
order. The guesser, having heard all these words, 
pauses to think over their initial letters, and finds that, 
when put together, they are C,A,K,E, and compose 



72 THE AMERICAN GIRL'S BOOK. 

the word " Cake," which she immediately pronounces j 
and it is then the turn of the one at the head of the 
row to go out while a word is proposed. If most of 
the company are unacquainted with the play, the one 
at the head need not explain at first the manner in 
which the word is guessed ; but she had better tell 
her companions beforehand what words they are to 
say when the guesser comes in, and then they will all 
be surprised at her guessing, not thinking that it is 
from putting together the initial letters. 

Maria. Julia, you know this play, so you had better be the first to 
go out. (Julia leaves the room,) Now we will fix on the word 
Rainbow for Julia to guess. Are any of you acquainted with the 
play ? 

All. I am not — I am not — 

Maria. Very well, then I will tell you what words to say when Ju- 
lia presents herself before j^ou. If you all knew the play you might 
choose your own words. I myself will say •' Rose." Sophia do you saj 
^* Arrow." Emily your word may be '^ Ice." Caroline's may be 
*^ Nutmeg." Louisa's may be ^' Bonnet." Charlotte's may be 
^' Orange," and Harriet may say ^' Wafer." Come in, Julia. Now be 
sure to remember your words. {Julia returns.) Well, Julia, my word 
is Rose. 

(Julia goes all along the row, and as she stops before eachj^ 
they say the word allotted to them. J 

Sophia. Arrow. 



THE AMERICAN GIRL'S BOOK. 73 

Emily. Ice. 

Caroline. Nutmeg. 

Louisa. Bonnet. 

Charlotte. Orange. 

Harriet. Wafer. 

(Julia pauses a moment, and finds that the initial letters of all these 
words make R A I N B O W.J 

Julia. Rainbow — the word is Rainbow. 

All. So it is — 

Caroline. I cannot imagine how you could find it out. 

Emily. I think I can guess the mode of discovery. However I 
will not disclose it. 

Harriet. I believe I can guess it too. But I also will not tell. 

Charlotte. Well it is a mystery to me. 

Julia. It will not be when the play has gone on a little longer. 
You will find it out by practice. Come, Maria, you are to be the next 
guesser. 



74 THE AMERICAN GIRL'S BOOK. 

45. 
THE WATCH-WORD. 

One of the company must leave the room, while 
another touches some article in her absence, which 
she must endeavour to guess on her return. Before 
her departure, the mistress of the play takes her aside 
and whispers to her the watch-word, meaning that 
when she hears her ask, " is it this V she may be 
sure that she points to the object which has been ac- 
tually touched ; but, on the other hand, the question 
'^ is it that V refers to things that have not been 
touched. 

Maria. Louisa, do you g-o out, but first let me say something to 
you in private. (She takes Louisa aside, and lohispers to her, saying,) 
Julia will touch something while you are gone, and when, on your 
return, I ^ point to different things and ask, " is it that V^ you may be 
sure I am not directing you to the right object; and you must say '' no.'' 
But when I ask, ^* is it thisV^ you may say, '^ yes/' for you may be 
sure that I then mean the thing that Julia has actually' touched. Go 
now, remember that the watch-word is " this,^^ and reply accordingly. 
(Louisa goes out.) Come; Julia, what will you touch 1 



THE AMERICAN GIRL^S BOOK. 75 

Julia. There; I touch the work-basket. Come in, Louisa. (Louisa 
returns. J 

Maria. (Pointing to a book.) Is it that ? 

Louisa. No. 

Maria. (Showing a pin-ctishion.J Is it that ? 

Louisa. No. 

Maria. (Pointing to a newspaper.) Is it that ? 

Louisa. No. 

Maria. (Showing a work-box.) Is it that? 

Louisa. No. 

Maria. (Pointing to a basket.) Is it this ? 

Louisa. Yes. ( The other girls, being unacquainted ivith the play , 
look surprised.) 

Charlotte. Well, it really was the basket that Julia touched. 

Helen. How could Louisa possibly know ? 

Harriet. How could she be sure that Julia had not touched any of 
the other thing's that were mentioned ? 

Maria. Well, Harriet, you shall go out next. So first come aside 
with me, and I will let you into the secret. [By the bye it must be 
remembered, that, in this play, no one goes out twice.] 

(She takes Harriet to the other end of the room, and whispers to 
her that the watch-ioord will now be " that." Harriet goes 
mit, and J while she is away, Charlotte touches the lamp ; and 
on her return, Maria questions her for awhile by asking, ^' is 
it this ?" to which, of course, Harriet answers^ " no ;'' but 
when Maria inquires, ^' is it that V^ as she points to the 
lamp, Harriet knows thai she may say *^ yes.") 




46. 



THE NEWSPAPER. 

This play seems, at first, to be very trifling and 
ridiculous, but, if well managed, it is extremely di- 
verting, and excites much laughter. Any number 
may engage in it. 



The AMERICAN GIRL'S BOOK. 77 

One is appointed to read the newspaper, and each 
of the others chooses a trade ; for instance, that of 
baker, butcher, tailor, shoemaker, or grocer. They 
all seat themselves in a row, or in a half circle, and 
the reader takes her place in front. She selects from 
the paper a piece of news (the more important the 
better), and reads it in an audible and distinct voice, 
stopping frequently in the midst of a sentence and 
looking steadfastly at one of her companions. She 
that is looked at by the reader must instantly fill tip 
tlie pause with one or two words, which refer to the 
ti'ade she has chosen. The reader then proceeds to 
finish the sentence and begin another, stopping at in- 
tervals as before ; her companions, each as she looks 
at them, supplying the pauses with some allusion to 
their trades. Whoever is unable to do so, promptly 
and without mistake, must pay a forfeit. 



2E):anTple, 



Maria. Come; dear girls, lake your seals. Here is a news- 
paper; containing an account of the French Revolution of July, 



78 THE AMERICAN GIRL'S BOOK. 

1830. I am going to read — therefore make haste and choose your 
trades. 

Julia. I will keep a china-store. 

Sophia. I'll be a grocer. 

Emily. I a cook. 

Louisa. I'll keep a dry-goods store. 

Charlotte. I will be a butcher. 

Clara. And I a mantua-maker. 

Maria. (Reading the newspaper.^) ^' Early in the morning, the 
nhole'' — (looking at Julia) — 

Julia. Dinner-set — 

Maria. " Was in motion. Detachments from the suburbs had put 
themselves in " — 

Sophia. Vinegar. 

Maria. ^' Armed citizens occupied the '' — 

Emily. Frying-pans. 

Maria. ^' Others had taken possession of the '^ — 



* ^^ Early in the mornings the whole population of Paris was in mo- 
lion. Detachments from the suburbs had put themselves in march ; 
armed citizens occupied the Hotel de Ville. Others had taken posses- 
sion of the passages of Notre Dame, planted the tri-colouredfag, and 
sounded the tocsin. All were prepared to fight. All the powder and 
lead which they found in the shops was taken. The entire Polytechnic 
school came out iofght. The students of Law and Medicine imitated 
the example. In fact, Paris appeared like a camp. All the shops were 
closed; and royal guards, lancers, Swiss, and regiments of the line, were 
drawn up on all sides.'' 



THE AMERICAN GIRL'S BOOK. 79 

Louisa. Cotton balls. 
Maria. " Planted the"— 
Charlotte. Marrow-bones. 
Maria. " And sounded the '^ — 
Clara. Scissars. 
Maria. '' All were prepared to '' — 
Julia. Break tumblers. 

Maria. ^' All the powder and lead, which they found in the" — 
Sophia. Molasses — 

Maria. '"'Was taken. The entire Polytechnic School came 
out to ''— 

Emily. Make gingerbread. 

Maria. "^ The students of Law and Medicine imitated the " — 

Louisa. Worked-muslin. 

Maria. '' In fact. Paris appeared like a" — 

Charlotte. Chopping-block. 

Maria. ^^ All the shops were '' — 

Clara. Cut bias. 

Maria. '^ And royal -guards, lancers, Swiss and '' — 

Julia. Tea-pots — 

Maria. ''Were drawn up on all sides.'' 



47. 
THE MERCHANTS. 

Each of the company in turn calls herself a mer- 
chant, and mentions an article that she has for sale. 



so THE AMERICAN GIRL'S BOOK. 

The one next to her must say whether that article is 
animal, vegetable, or mineral. If she makes a mis- 
take, she loses her turn. If she answers rightly, she 
becomes the next merchant, and proposes something 
for sale, asking also if it is animal, vegetable, or min- 
eral ; and in this manner the play goes round. 



3Sj:^m^lz. 



Maria. I am a China merchant, and have a tea-set to sell. Is it 
animal; vegetable; or mineral ? 

Louisa. Mineral. China is made of clay and flint and things be- 
longing to earth. Now it is my turn. I am a dry-goods merchant; 

and have a piece of gingham to sell 5 is it animal, vegetable; or 
mineral ? 

Helen. Vegetable ; gingham being made of cotton. 1 keep a 

grocery storo; and have a box of candles to sell 5 are they animal; veg- 
etable; or mineral ? 

Charlotte. Animal. Candles are made either of tallow, sper* 

Diaceti, or wax, all of which are animal substances. 1 keep a cabi^ 

net-warehousC; and have a dining-table for sale 3 is it animal; vegeta* 
ble; or mineral ? 

Harriet. Vegetable 5 being made of the wood of the mahogany 

tree. 1 am a silk-mercer; and have a piece of satin for sale 3 is it 

animal, mineral; or vegetable ? 

Caroline. Vegetable. 



THE AMERICAN GIRL'S BOOK. Bi 

Harriet. What — satin, vegetable ? Is it not made of silk thread, 
produced by the silk-worm ? therefore it must be animal. Caroline, 
you. have lost your turn, and can sell nothing- this time. Come, Emily, 
you are merchant now. 

Emily. I am a stationer, and have a quire of letter-paper for sale 3 
is it animal, vegetable, or mineral ? 

Julia. Vegetable 5 white paper being made of linen or cotton 

rags. 1 am a druggist, and have some opium to sell 3 is it animal, 

mineral, or vegetable ? 

Matilda. Mineral. 

Maria. Oh ! no, no. Opium is vegetable 5 it is the congealed 
juice of the poppy. You have lost your turn of being merchant, Ma- 
tilda, and it has now come to me again. 

Matilda. I thought almost all medicines were minerals. 

Maria. A large proportion of them are 3 but a very great number 
of drugs are the produce of plants, and therefore vegetable. 



48. 
TEA TABLE. 

The children form a circlej the name of an article 
Monging to the tea-table having been given to each, 
as Tea, Toast, Butter, Sugar, Cream, &c. The one 
named Tea begins by whirling round on one foot and 
saying, " I turn Tea, who turns Sugar ?" Sugar 
replies by turning Cream, or any one she pleases. If 
6 



82 THE AMERICAN GIRL'S BOOK. 

the one that is turned does not answer promptly, or 
forgets her name, she pays a forfeit. 

Maria. Now, Harriet, you shall be Tee ; Julie shaU be Cream -^ 
Helen, Sugar ; Louisa, Butter ; Charlotte, Bread ; Caroline, Cake j 
Emily shall be Honey 5 and I will be Sliced Ham. Come, let all 
stand up in a ring. 

/Harriet whirls round, saying, '' I turn Tea, who turns Cream 7^^ 

Julia. I turn Cream, who turns Sugar ? 

Helen. I turn Sugar, who turns Bread ? 

Charlotte. I turn Bread, who turns Butter ? 

Louisa. I turn Butler, who turns Cake ? 

Caroline. I turn Cake, who turns Honey ? 

Emily. I turn Honey, who turns Ham ? No one answers. Who 
turns Ham ? Ah ! Maria, a forfeit. You forget that you are Ham. 

Maria. I was thinking of something else. Well, I deserve the 
penalty, for we ought to pay proper attention to whatever we are doing, 
^ven when it is only play. I give this book as a forfeit, and will take 
-care to avoid incurring another. 

MY lady's TOILET. 

This play is somewhat similar to the last. To 
^ach of the company is given the name of an article 
-of dress. If eight girls are playing, all the chairs, 
except geven, must be taken out of the room, or set 



THE AMERICAN GIRL^S BOOK. 83 

aside in one place in one place with their backs out- 
ward ; so as to leave one chair too few. All the girls 
then seat themselves round the room ; except one. 
who is called the Lady's Maid and stands in the cen- 
tre. The maid calls out, " My lady's up, and wants 
her Shoes." She, of that name, starts up and ex- 
claims " Shoes," seating herself again immediately. 
Then the maid says, ^' My lady's up, and wants her 
Gown." Gown directly answers to her name ; and 
so on till all the articles are called over and answered. 
If any one fails to rise and reply quickly, she pays a 
forfeit. 

Occasionally, the maid exclaims, " My lady wants 
her whole Toilet ;" and then every one quits her 
chair, and runs to change her seat by taking another. 
As there is a chair too few, one of the girls is of 
course left without a seat in the scramble, and she be- 
comes the Lady's Maid ; and takes her place in the 
middle of the room to call the names of the others. 

Maria. Now, as there are seven of us, we must have but six 
chairs j so let us take all the others, and set them at the other end of 
Hhe room, turning- their fronts to the wall. (They fx the chairs.) 
>Come; Julia, you shall be Scarf 5 Matilda shall be Collar 3 Charlotte, 
Frock 3 Harriet, Belt 3 Louisa, Cap 3 Emily, Bonnet 3 and I will be 



84 THE AMERICAN GIRL^S BOOK. 

Lady^s Maid. Now all take your seats. (They seat themselves./ 
My lady's up; and wants her collar. 

Matilda, (rising.) Collar ! 

Maria. My lady's up, and wants her frock. 

Charlotte. Frock ! 

Maria. My lady's up, and wants her scarf. 

Julia. Scarf ! 

Maria. My lady's up, and wants her cap. 

Louisa. Cap ! 

Maria. My lady's up, and wants her bonnet. Bonnet — bonnet — 
Why, Emily, you do not answer. You have not your w^its about you. 

Emily. What could I be thinking of? My handkerchief must be 
mj'^ forfeit. 

Maria. My lady's up, and wants her scarf. 

Julia. Scarf ! 

Maria. My lady's up, and wants her scarf. Julia — Julia — hav.e 
you forgotten already that you are scarf ? 

Julia. Why I was the last that answered, and I did not think you 
Would call my name again immediately. 

Maria. Oh ! yes — It's not contrary to rule, and it makes the play 
more diverting. You know in Tea-table also, we may call the same 
aame twice successively. Come, where is your forfeit ? 

Julia. This little nosegay. 

Maria. My lad3''s up, and wants her belt. 

Harriet. Belt ! 

Maria. My lady's op, and wants her belt. 

Harriet. Belt ! You see, I have tmj wits about me. 

Maria. My lady wants her whole toilet. 
(They dll quit their seats, and run to other chairs. Julia is left 
out as Lachfs Maid. As soon as they are all quietly seated^ 
she calls for the whole toilet again, and there is a second scram- 
ble and changing of seats. Emily is next left out, and becomes 
Lady's Maid./ 




50. 



THE DUMB ORATOR. 



In this amusement there are in reality two per- 
formers, one that speaks Vv ithout gesture, and one 
that makes gestures without speaking. We will sup- 
pose that Maria personates the speaker. She stands 
in the middle of the room, inveloped in a large cloak, 



86 THE AMERICAN GIRL'S BOOK. 

Harriet hides behind her, concealed under the same 
cloakj keeping down her head below Maria's shoul- 
ders. She must thrust out her arms through the 
arm-holes of the cloak, while Maria's arms must re- 
main motionless down at her sides. 

When all is ready, Maria must recite with great 
energy some popular speech, such as are found in 
school-books on elocution ; for instance. Lady Ran- 
dolph's Soliloquy, Young Norval^ story of himself, 
or something similar. One that admits of considera- 
ble action is always to be preferred. Maria, while 
repeating the speech, must keep perfectly still ; and 
Harriet, with her hands and arms protruding from 
the cloak must "make all the motions." These 
motions should be as laughable and ridiculous as 
possible; so as to burlesque the speech. She should 
spread out her arms, wave her hands, point upwards 
and downwards, strike Maria on the forehead and 
breast, and exaggerate every gesture in the most lu- 
dicrous manner. 

The Dumb Orator (when humorously performed) 
is a more diverting exhibition that can possibly be 
imagined by those who have never seen it. 



THE AMERICAN GIRL'S BOOK. 87 

In case my young readers should not be acquainted 
with the popular speech of Young Norval (as referred 
to in the foregoing article) we will here insert it. It 
is from Mr Home's tragedy of Douglas. 

My name is Norval 3 on the Grampian hills 
My father feeds his flocks 3 a frugal swain, 
Whose constant cares were to increase his store, 
And keep his only son, myself, at home. 
For I had heard of battles, and I longM 
To follow to the field some warlike lord 3 
And Heaven soon granted what my sire denied. 
This moon, which rose last night round as my shield, 
Had not 3^et filled her horns, when by her light, 
A band of fierce barbarians, from the hills, 
Rush'd like a torrent down upon the vale, 
Sweeping our flocks and herds. The shepherds fled 
For safety and for succour. I alone. 
With bended bow and quiver full of arrows, 
Hover'd about the enemy, and markM 
The road he took : then hasten'd to my friends 5 
Whom, with a troop of fifty chosen men, 
I met advancing. The pursuit I Jed, 
Till we o'ertook the spoil-encumber'd foe. 
We fought and conquer'd. Ere a sword was drawn^ 
An arrow from my bow had pierced their chief, 
Who wore that day the arms which now I wear. 

Returning home in triumph, I disdained 
The shepherd's slothful life 3 and having heard 
That our good king had summoned his bold peer* 
To lead their warriors to the Carron side> 



88 THE AMERICAN GIRL'S BOOK. 

/ 

I left my father^s house; and took with me 

A chosen servant to conduct my steps ; 

Yon trembling coward, who forsook his master ! 

Journeying with this intent, I pass'd these towers, 
And, Heaven-directed, came this day to do 
The happy deed that gilds my humble name. 

This well-known speech is much in favour with 
juvenile orators, as it relates a story and admits of 
considerable gesture. 

51. 

CONSEaUENCES. 

This is best played by three persons, though four 
or two may engage in it. First prepare some white 
pasteboard or some blank cards by cutting them into 
small slips, all of one size. There should at least be 
four dozen slips ; but eight dozen will be better still, 
as the game will then be longer and more varied. 
We will, however, suppose that there are four dozen 
slips of card. First take twenty-four of these slips 
and write upon each, as handsomely and legibly as 
you can, the name of one of your acquaintances. 
Then take twelve more cards and write on each the 
name of a place, as " in the street," " in church," " in 



THE AMERICAN GIRL^S BOOK. 89 

the garden," " in the orchard," " at a ball," " at 
school," &c. Lastly on the remaining dozen of 
cards write the consequences, or what happened to 
the young ladies. You may say for instance, 
" They lost their shoes," " They tore their gloves," 
^^ They took offence," or something similar. The 
consequences should be so contrived that none of 
tliem will appear absurd and unmeaning with refer- 
ence to the places. 

When the cards are all ready (and when once made 
they will last a long time), the play may begin by 
Julia taking the two dozen that have the names (two 
names being read together) ; Sophia taking the dozen 
that designates the places, and Harriet taking charge 
of the consequence. Each had better put her cards 
into a small basket, from which they are to be drawn 
out as they chance to come uppermost. Or they may 
be well shuffled and laid in a pile before each of the 
players, with the blank sides upwards. They must 
be shuffled ev'ery game. 

Julia, Sophia, Harriet. 

Julia. Well, are we all ready ? Come, then; let us begin. (She 
takes up two cards and reads them. J " Louisa Hartley and Helen 
Wallis"-^ 



90 THE AMERICAN GIRL^S BOOK. 

Sophia, (reading a card,) Were together '' in a sleigh»^' 

Harriet, (reading.) The consequence was, " they caught cold." 

Julia. ^' Emily Campbell and Clara Nelson" — 

Sophia. Were both " at a ball.'' 

Harriet. The consequence was " they were taken with fe- 
vers." 

Julia. '^ Maria Walden and Charlotte Rosew^U"^^ 

Sophia. Were together ^' in the street" — 

Harriet. The consequence was, *' they got their feet wet." 

JiJLiA. '^ Fanny Blilford and Ellen Graves" — 

Sophia. Were both ^' at a party''-^ 

Harriet. The consequence was, ^' their noses blied." 

Julia. '•' Amelia Temple and Caroline Douglas" — 

Sophia. Were together ^' at the museum" — 

Harriet. The consequence was, ^^ they were highly delighted." 

Julia. ^^ Sophia Seymour and Harriet Harland" — 

Sophia. Ah 1 Harriet, your name and mine ! — (reading,) were 
both in the kitchen*" 

Harriet. The consequence was, " they did nothing at all." 

Julia. '^ Matilda Granby and Eliza Ross" — 

Sophia. Were together '^ in the orchard." 

Harriet. The consequence was, *' they quarrelled and parted." 

Julia. '^ Marianne Morley and Julia Gordon"— (that is myself)^ — 

Sophia. Were both '^ in church." 

Harriet. The consequence was, '^ they did not speak a word." 

Julia. " Adelaide Elmer and Juliet Fanning"^^- 

SoPHiA. Were both '' at the theatre.'' 

Harriet. The consequence was, '* they were laughing all the 
time." 

Julia. '* Georgiana Bruce and Eleanor Oakley" — 

Sophia. Were '^ on the top of the house." 

Harriit. The consequence was, " they sprained their ankles-.'' 

Julia. " Emmeline Stanley and Laura Lear" — 



THE AMERICAN GIRL'S BOOK. n 

So p H 1 A . Were both " at school . " 

Harriet. The consequence was '' they broke their bonnets/' 

Julia. " Margaret Ashwood and Lydia Bar clay'' — 

Sophia. Were together '^ on a visit.'' 

Harriet. '^ The consequence was, " they were glad to gel 
home." 

Julia. There now — ^we have gone through all the cards. So let 
us shuffle theoi; and begin another game. This time Sophia may take 
the names, Harriet the places, and I the consequences. I hope the 
CLQSwers this time also will be somewhat approp riate. 



If you cannot conveniently procure white paste- 
board or blank cards, slips of thicl^ wliite paper will 
do nearly as well. When not in use, they should be 
kept in a box. 

Remember that, as two names are always read to- 
gether, the number of names should be double that of 
the places and consequences. 

Four persons may play this game by dividing the 
names between two, each of which \vill read one 
name. If played by two persons only, one must take 
all the names, the other must read both the places and 
consequences. 



92 THE AMERICAN GIRL'S BOOK. 

52. 
I LOVE MY LOVE, 

This may be played by any number, each taking 
a letter as it comes to her turn. Any mistake or hes- 
itation incurs the penalty of a forfeit. She that be- 
gins may say, 

A. I love my love with an A. because he is Artless — I hate him with 
an A. because he is Avaricious. He took me to the sign of the An- 
chor^ and treated me to Apees and Almonds. His name is Abraham, 
and he comes from Albany. 

B. I love my love with a B. because he is Brave. I hate him with 
a B. because he is Boisterous. He took me to the sign of the Bell, and 
treated me to Biscuits and Buns. His name is Benjamin and he 
comes from Boston. 

C. I love my love with a C. because he is Candid. I hate him 
with a G» because he is Capricious. He took me to the sign of the 
"Crow, and treated me to Cherries and Custards. His name is Charles, 

and he comes from Cincinnati. 

D. I love my love with a D. because he is Diligent. I hate him 
with a D. because he is Disdainful. He took me to the sign of the 
Drum, and treated me to Damsons and Dough-nuts. His name is Da- 
vid; and he comes from Delaware. 

E. I love my love with an E. because he is Elegant. I hate him 
with an E. because he is Envious. He took me to the sign of the Eagle, 
and treated me to Eels and Eggs. His name is Edv^ard, and he comes 
from Easton. 

F. I love my love with an F. because he is Faithful. I hate him 
with an F,. because he is Foolish. He tookme to the signpftheFo^x 



THE AMERICAN GIRL'S BOOK. 93 

and treated me to Filberts and Figs. His name is Francis, and he 
comes from Farmington. 

G. I love my love with a G. because he is Generous. I hate him 
with a G. because he is Graceless. He took me to the sign of the 
Grecian, and treated me to Grapes and Gooseberries. His name is 
Gustavus, and he comes from Georgia. 

H. I love my love with an H. because he is Handsome. I hate him 
with an H. because he is Haughty. He took me to the sign of the 
Hunter and treated me to Ham and Hash. His name is Henry, and 
he comes from Harrisburgh. 

I. I love my love with an I. because he is Ingenious. I hate him 
with an I. because he is Impertinent^ He took me to the sign of the 
Indian, and treated me to Ice-cream and Isinglass JelK'. His name is 
Isaac, and he comes from Illinois. 

J. I love my love with a J. because he is Judicious. I hate him 
with a J. because he is Jealous. He took me to the sign of the Judge, 
and treated me to Jelly and Jam. His name is James, and he comes 
from Jersey. 

K. I love my love with a K. because he is kind. 1 hate him with 
a K. because he is Knavish. He took me to the sign of the King, and 
treated me to Kale and Kid. His name is Kenneth, and he comes 
from Kentucky. 

L. I love my love with an L. because he is Liberal. I hate him 
with an L. because he is Listless. He took me to the sign of the Lion, 
and treated me to Lobster and Lamb. His name is Lewis, and he 
came from Lansingburgh. 

M. I love my love with an M. because he is Modest. I hate him 
with an M. because he is Mischievous. He took me to the sign of the 
Mermaid, and treated me to Maccaroons and Marmelade. His name 
is Martin, and he comes from Maiietta. 

N. I love my love with an N. because he is Neat. I hate him with 
an N. because he is Noisy. He took me to the sign of the Nun, and 



64 THE AMERICAN GIRL'S BOOK. 

treated me to Nuts and Nectarines. His name is Nathan, and be 
comes from Nashville. 

O, I love my love with an O. because he is Obliging. I hate him 
with an O. because he is Officious. He took me to the sign of the 
Owl, and treated me to Oysters and Omelet. His name is Oliver, 
and he comes from Ohio. 

P. I love my love with a P. because he is prudent. I hate him 
with a P. because he is Petulant. He took me to the sign of the Pea- 
cock, and treated me to Peaches and Plums. His name is Philip, and 
he comes from Pensacola. 

Q. I love my love with a Q. because he is Quiet. I hate him with 
a Q. because he is Queer. He took me to the sign of the Quiver, and 
treated me with Quinces and Queen-cake. His name is Quintin, and 
he comes from Quebec. 

R. I love my love with an R. because he is Regular. I hate him 
with an R. because he is Revengeful. He took me to the sign of the 
Rose, and treated me to Raisins and Rusk. His name is Richard, 
and he comes from Roanoke. 

S. I love my love with aa S. because he is Sensible. I hate him 
with an S. because he is Scornful. He took me to the sign of the 
Swan, and treated me to Strawberries and Syllabub. His name is 
Simon, and he comes from Sandusky. 

T, I love my love with a T. because he is Temperate. I 
bate him with a T. because he is Treacherous. He took me to the 
sign of the Turk, and treated me to Terrapins and Turtle. Hia 
name is Timothy, and he comes from Tennessee* 

U. is omitted. 

V. I love my love with a V. because he is Valiant. I hate him 
with a V. because he is Vain. He took me to the sign of the Vine, and 
'treated me to Venison and Veal. His name is Valentine, and he cornea 
>fram Vermont. 



•yHE AMERICAN GIRL'S BOOK. 95 

W. I love my love with a W. because he is Witty. I hate him 
with a W. because he is Wild. He took me to the sign of the Wag- 
gon^ and treated me to Water-melon and Walnuts. His name is Wil-^ 
liam, and he comes from Washington. 

X. Y. and Z. are always omitted; as it is impossible to find proper 
words beginning with those letters,. 



For the above words, otiiers beginning with the 
same letters may be substituted at the pleasure of the 
players. For instance, in tlie letter A. the words may 
be, " Active — Artful — sign of the Antelope — -Ancho- 
vies and Ale— Adam — Annapolis" : — or for the letter 
B. " Bountiful — Barbarous— sign of the Bear — Bea- 
con and Beans — Benedict — Burlington." 

It may be more diverting for the treat to consist of 
things totally opposite and unsuitable — as — " Cabbage 
•and Cheese" — " Molasses and Mutton" — " Sausages 
^nd Sugar" — " Oranges and Oil" — (Jcc. 



96 THE AMERICAN GIRL'S BOOK. 

ANOTHER WAY OF PLAYING MY LOVE. 

A. I love my love with an A. because he is Amusing'. I will send 
him to Alabama, and feed him with Apples 3 I will give him an Axe 
to cut down his trees with, and a bunch of Acorns for a nosega}'. 

B. I love my love with a B. because he is Beautiful. I will send 
him to Buffalo, and feed him with Buckwheat cakes 3 I will give him 
a Bag for his money, and a bunch of Broom-corn for a nosegay. 

C. I love my love with a C. because he is Careful. I will send him 
to Connecticut, and feed him on Cod-fish. I will give him a Cloak to 
wear in cold weather, and a bunch of Celery for a nosegay. 

D. I love my love with a D. because he is Diffident. I will send 
him to Dartmouth, and feed him with Dumplings. I will give him a 
Diamond to cut glass with, and a bunch of Dock-leaves for a 
nosegay. 

E. I love my love with an E. because he is Entertaining. I will 
send him to Emmetsburgh, and feed him with Egg-sauce. I will give 
him an Earthen-pitcher to fetch water in, and a bunch of Elder-berries 
for a nosegay. 

F. I love my love with an F. because he is Friendly. I will send 
him to Falmouth, and feed him with Fritters. I will give him a Fife to 
play on, and a bunch of Flax for a nosegay. 

G. I love my love with a G. because he is Good-natured. I will 
send him to Georgetown, and feed him with Gingerbread. I will give 
him a Gun to shoot squirrels with, and a bunch of Grass for a 
nosegay. 

H. I love m}' love with an H. because he is Humble, I will send 
him to Hackensack, and feed him on Herrings. I will give him a Hat 
because his old one is worn out, and a bunch of Hops for a 
nosegay. 



THE AMERICAN GIRL'S BOOK. 97 

i. I love my love with an I. because he is Industrious. I will send 
him to Indiana, and feed him on Indian-pudding-. I will give him 
an Ink-stand to write letters with, and a bunch of Ivy for a nosegay. 

J. I love my love with a J. because he is Just. 1 will send him to' 
Juniata and feed him on Johnny-cake. I will give him a Jew's-harp to 
play OH; and a bunch of Juniper for a nosegay. 

K. I love my love with a K. because he is Knowing. I will send 
him to Kinderhook, and feed him with Ketchup. I will give him a 
Knapsack to put his clothes in, and a bunch of Kale for a nose- 
gay. 

L. I love my love with an L. because he is Lively. I will send 
him to Lousiana, and feed him on Lemons. I will give him Leather 
for his shoeS; and a bunch of Lettuce for a nosegay. 

M. I love my love with an M. because he is Merciful. I will send 
him to Marblehead, and feed him on Mushrooms. I will give him a 
Mill to grind his coffee in, and a bunch of Marjoram for a nosegay. 

N. I love my love with an N. because he is Nice. I will send him 
to Nantucket and feed him on Nutmegs. I will give him a set of Nine- 
pins to play with, and a bunch of Nettles for a nosegay. 

O. I love my love with an O. because he is Obedient. I will send 
him to Oswego, and feed him on Onions. I will give him some Oil 
for his lamp, and a bunch of Oats for a nosegay. 

P. I love my love with a P. because he is Peaceable. I will send 
him to Poughkeepsie, and feed him on Pickles. I will give him a 
Patch to mend his coat with, and a bunch of Pokeberries for a 
nosegay. 

D. I love my love with a Q. because he is Quick. I will send him 
to Queenstown and feed him on Quails. I will give him a Quilt for his- 
bed, and a bunch of Quills for a nosegay, 
7 



98 THE AMERICAN GIRL'S BOOK. 

R. I love my love with an R. because he is Reasonable. I will send 
him to Roxburj; and feed him on Rabbits. I will give him a Rail to 
mend his fence; and a bunch of Rye for a nosegay. 

S. I love my love with an S. because he is Steady. I will send him 
to Salem, and feed him on Salad. I will give him some Soap to wash 
his hands with; and a bunch of Sumach for a nosegay. 

T. I love my love with a T. because he is Thoughtful. I will send 
him to Trenton, and feed him on Turnips. I will give him a Trap to 
catch his mice in, and a bunch of Thistles for a nosegay. 

U. Is omitted. 

V. I love my love with a V. because he is Virtuous. I will send 
him to Virginia and feed him on Vermicelli. I will give him a Violin to 
play on, and a bunch of Vine-leaves for a nosegay. 

W. I love my love with a W. because he is Wise. I will send him 
to Wilmington, and feed him on Waffles. I will give him a Waistcoat 
to wear at his wedding, and a bunch of Wormwood for a nosegay. 

X. Y. and Z. are omitted. 



Thisj like the one similar, may be played by any 
number. Mis-spelling, or any other mistake, is pun- 
ished by a forfeit. For the foregoing words any 
others may be substituted according to the taste of the 
player, provided that they are appropriate. The 
more ridiculous, the more amusing. 

These alphabetical plays, though many grown per- 



THE AMERICAN GIRL'S BOOK. 99 

sons may consider them foolish, are in fact not only 
diverting but very improving to children. 



d4. 

CUPID. 

The mistress of the play seats herself at one end of 
the room. At the other end her companions range 
themselves in a row, each coming forward in turn and 
addressing her in the character of Cupid, and after- 
wards taking a station behind her. Every one, as 
she personates Cupid, must adapt her countenance 
and gestures to the manner in which she describes 
him. She who fails to do so, but merely repeats her 
words wdthout the proper expression or attitude, is to 
pay a forfeit. Each takes a letter till the whole al- 
phabet is completed ; the first girl, for instance, say- 
ing, Cupid comes Affable. 

A. Cupid comes Affable — or Affected — or Angry. 

B. Cupid comes Begging — Bouncing — Backwards. 

C. Cupid comes Capering — Crying — Chilly — Creeping. 

D. Cupid comes Dancing — Dull — Downcast. 

E. Cupid comes Eating — Eagerly — Exasperated. 



100 THE AMERICAN GIRL'S BOOK. 

F. Cupid comes Frightened — Fatigued — Fighting. 

G. Cupid comes Gaily — Gravely — Grieving — Gliding. 

H. Cupid comes Haughty — Hastily — Heedless — Hobblingo 

I. Cupid comes Indolent — Impudent. 

J. Cupid comes Jumping — Jealous — Joyful. 

K. Cupid comes Kissing. 

L. Cupid comes Laughing — Limping — Loitering. 

M. Cupid comes Mournful — Majestic — Meekly. 

N. Cupid comes Noisy — Negligent. 

O. Cupid comes Outrageous — Orderly. 

P. Cupid comes Peaceful — Peevish — Playful — Painful. 

Q,. Cupid comes Quickly — Quarrelsome — Quizzical. 

R. Cupid comes Raging — Respectfully — Rustic. 

S. Cupid comes Smiling — Sighing — Skipping — Sideways. 

T. Cupid comes Trembling— Tiptoe — Thoughtful — Twining* 

U. Cupid comes Upright — Unhappy — Unruly. 

V. Cupid comes Violently — Volatile. 

W. Cupid comes Whimpering — Weary — Woful. 

X. Is omitted. 

Y. Cupid comes Yawning. 

Z. Cupid comes Zigzag. 



A little reflection will soon show in what manner 
Cupid is to be performed under all these various as^ 
pects, and in this way the alphabet may be gone over 
three or four times, always changing the words when 
practicable. Smart children find this play very ami^- 
ing. 




55. 



SELLING FORFEITS OR PAWNS. 



When a sufficient number of forfeits or pawns 
have been collected during the play, it is time to sell 
them. For this purpose, one of the girls is seated on 
.a chair in the middle of the room and bhndfolded. 



102 THE AMERICAN GIRL'S BOOK. 

Another stands behind her with the basket, contain^ 
ing the pawns ; and taking out one at a time, she 
holds it up, asking, " What is to be done to the owner 
of this ?" She that is blindfolded inquires, " Is it fine 
or superfine ?" meaning " Does it belong to a young 
gentleman or to a young lady ?" If the owner is a fe- 
male, the reply must be, " It is superfine." Then the 
seller of the forfeits (still remaining blindfolded) must 
decide what the owner must do before the pawn can 
be restored to her. 



FIRST. 

The first may be what is called performing a 
statue. 

The owner of the forfeit is to stand on a chair in 
the middle of the room ; and every one, in turn, is to 
put her in a different position. One is to make her 
raise her hands above her head and clasp them to- 
gether ; another is to place her arms behind her, 
grasping her elbows with her hands ; a third makes 
the statue clasp her hands on her breast ; a fourth re- 




PERFORMING A STATUE. 



quires her to hold out her dress, as if she was just 
going to dance ; a fifth desires her to cover her eyes 
with her hands ; and so on, till each has pla- 
ced the statue in a different attitude. After which, 
she descends from her pedestal and the forfeit is res- 
tored to her. 



104 THE AMERICAN GIRL'S BOOK. 

SECOND. 

The owner of the pawn is to be fed with water 
till she guesses who is feeding her. For this purpose 
she is blindfolded, and seated on a chair. A glass of 
water with a tea-spoon in it is prepared, and each girl, 
in turn, puts a spoonful of water into the mouth of 
her blindfolded companion, who must endeavour to 
guess who is doing it. Whenever she guesses right- 
ty, the bandage is removed, and the forfeit is restored 
to her. 

THIRD. 

She shall be carried three times round the room 
on a seat, formed of the arms of two of her compan- 
ions, who are to say as" they carry her, '^ Give me a 
pin to stick in the cushion that carries my lady to 
London." They cross their arms, holding each other 
by the wrists, and she that is carried throws an arm 
round the neck of each. 



She must recite a verse of poetry, which had better 
be something diverting or humorous. 

FIFTH. 

She must keep a serious face for five minutes, 



THE AMERICAN GIRL'S BOOK. 105 

without either smiling or frowning, let the company 
do as they will. 

SIXTH. 

She must repeat five times rapidly, without mispro- 
nouncing a letter, " ViHy Vite and his Vife vent a 
voyage to Vinsor and Vest Vickham von Vitsun 
Vednesday." 

SEVENTH. 

Laugh in one corner of the room, cry in another, 
yawn in the thkd corner, and dance in the fourth. 



Bite an inch off the poker. This is done by ma- 
king a bite at the distance of an inch froin the poker. 
If there is no poker at hand, an umbrella or a stick 
will do as well, 

NINTH. 

Repeat as follows, three times successively, without 
a pause or a blunder : 

, " Peter Piper pick'd a peck of pickle-peppers, 
A peck of pickle-peppers Peter Piper pick'd 3 
If Peter Piper pick'd a peck of pickle-peppers, 
Where's the peck of pickle-peppers Peter Piper pick'd ?" 



106 THE AMERICAN GIRL'S BOOK. 

TENTH. 

Say this correctly, without stopping : 

^' Bandy-legg'd Borachio Mustachio Whiskerifusticus the Bald and 
brave Bombardino of Bagdad helped Abomilique Blue-Beard Bashaw 
of Babelmandel to beat down an abominable Bumble Bee at 
Balsora." 

ELEVENTH. 

Kiss a boXj inside and outside, without opening 
it. That is, first kiss the box inside of the room, and 
then take it outside of the room and kiss it there 
also. 

TWELFTH. 

Answer five questions while another chucks you 
under the chin. 

THIRTEENTH. 

Ask a question of one of the company, which they 
can only answer by saying " Yes." The question 
is, " What does Y, E, S, spell V 

FOURTEENTH. 

Kneel to the wittiest in the room, bow or curtsy 
to the prettiest, and kiss the one you love best. 

FIFTEENTH. 

Make a good cat's cradle. 



THE AMERICAN GIRL'S BOOK. 107 

SIXTEENTH. 

Tell a riddle or conundrum. 

SEVENTEENTH. 

Hop, on one foot, four times round the room* 

EIGHTEENTH. 

Kiss some one through the tongs. 

NINETEENTH. 

Count twenty backwards. 

TWENTIETH. 

Show four bare legs. That is, turn a chair upside 
down, so as to display its four legs. 

TWENTY-FIRST. 

Tell a short story, or anecdote. 

TWENTY-SECOND. 

Sing a short song. 

TWENTY-THIRD. 

Dance a solo or hornpipe. 

TWENTY-FOURTH. 

Put yourself through the key-hole. This is done 
by writing the word "yourself" on a small slip of 



108 THE AMERICAN GIRL'S COOK. 

paper, rolling it up, and putting it through the key- 
hole. 

TWENTY-FIFTH. 

Repeat these three lines rapidly, without a pause 
or a mistake : 

^K As I went in the garden, I saw five brave maids 
Sitting on five broad beds, braiding broad braids. ' 
I said to these five brave maids, sitting on five broad beds 
Braiding broad braids, ^' Braid broad braids, brave maids." 

TWENTY-SIXTH. 

Kiss yourself in the looking-glass. 

TWENTY-SEVENTH. 

Guess a riddle or conundrum. 

TWENTY-EIGHTH. 

Spell " new door^^ in one word. This is done by 
writing on a slate or piece of paper ^^ one ivord!'^ It 
will be seen that " new door" and ^^ one word" con- 
tain exactly the same letters, though differently ar- 
ranged. 

TWENTY-NINTH. 

Repeat the " twine-twister," as follows : 



THE AMERICAN GIRL^S BOOK. 109^^ 

" When the twister a twisting will twist him a twine. 
For the twisting" his twist he three times doth entwist y 
But; if one of the twines of the twist doth untwine. 
The twine that untwisteth untwisteth the twine. 
Untwisting the twine that untwisteth between. 
He twirls with his twister the two in a twine 5 
Then twice having twisted the twines of the twine. 
He twisteth the twine he hath twined in twain : 
The twain, that in twining before in the twine 
As twines were intwisted, he now doth untwine. 
'Twixt the twain intertwisting a twine more between, 
He, twirling his twister, makes a twist of the twine." 



Immediately after " the twine-twister" has been 
saiclj the next pawn may be redeemed by desiring the 
owner to spell all this in seven letters ; which is done 
by spelling a^LjL, TjHjIjS. 

THIRTY-FIRST. 

Write yom' name in one letter. This is done by 
writing on a slate, or on paper with a lead-pencil, one 
very large letter, introducing in it your own name,^^ 
written small, thus : 




no THE AMERICAN GIRL'S BOOK. 

THIRTY-SECOND. 

Decypher two lines, addressed by a boy to his 
school-master. The following lines must be written 
by some one who knows how, and the owner of the 
pawn must write under them the explanation : 

2-|-ur2 + ub 
I c u r 2 -j" f"^r ^^^^ 

The explanation is : 

Too cross you are, too cross you be, 
I see you are too cross for me. 

THIRTY-THIRD. 

Decypher the schoolmaster's answer to the boy .: 

2 yy u r 2 yy u b 
I c u r 2 yy for me. 

This is the explanation : 

Too wise you are, too wise you be, 
I see you are too wise for me. 

THIRTY-FOURTH. 

Perform a Dutch doll. 

THIRTY-FIFTH^ 

Perform the Dumb Orator. 



THE AMERICAN GIRL'S BOOK. lU 

THIRTY-SIXTH, 



Repeat the list of 



WONDERFUL SIGHTS, 

I saw a peacock with a fiery tail, 

I saw a blazing comet pour down hail, 

I saw a cloud all wrappM with ivy round, 

I saw a lofty oak creep on the ground, 

I saw a beetle swallow up a whale, 

I saw the foaming sea brimful of ale, 

I saw a china mug fifteen feet deep, 

I saw a well full of men's tears that weep, 

I saw wet eyes all of a flaming fire, 

I saw a house high as the moon and higher, 

I saw the sun e'en at the dead midnight, 

I saw the man that saw these awful sights. 

Or this : 

MORE WONDERS. 

I saw a pack of cards gnawing a bone, 

I saw a dog seated on Britain's throne, 

I saw king George shut up within a box, 

I saw a shilling driving a fat ox, 

I saw a man laying in a muff all night, 

I saw a glove reading news by candle-light, 

I saw a woman not a twelvemonth old, 

I saw a great coat all of solid gold, 

I saw two buttons telling of their dreams, 

1 heard my friends, who wish'd I'd quit these themes. 



112 THE AMERICAN GIRL'S BOOK. 

THIRTY-SEVENTH. 

Repeat the "Wonderful Sights so as to make theme 
no wonders at all. This is done by altering the 
punctuation — thus : 

I saw a peacock 5 — with a fiery tail 

I saw a comet ^ — pour down hail 

I saw a cloud 5 — wrapped with ivy round 

I saw a lofty oak 5 — creep on the ground 

I saw a beetle 3 — swallow up a whale 

I saw the foaming sea ; — brimful of ale 

I saw a china mug 3 — fifteen feet deep 

I saw a well 5 — full of men's tears that weep 

I saw wet eyes 5 — high as the moon and higher 

I saw the sun 3 — even at the dark midnight 

I saw the man th*at saw these awful sights. 

MORE WONDERSj EXPLAINED. 

i saw a pack of cards ; — gnawing a bone 

I saw a dog 3 — seated on Britain's throne 

I saw king George 3 — shut up within a box 

i saw a shilling 3 — driving a fat ox 

I saw a man 5 — laying in a muff all night 

I saw a glove 3— -reading news by candle-light 

I saw a woman 3 — not a twelvemonth old 

I saw a great coat 5 — all of solid gold 

I saw two buttons 3 — telling of their dreams 

I heard my friendS; who wish'd I'd quit these themes. 

THIRTY-EIGHTH. 

Get a sixpence off your forehead, without putting 



THE AMERICAN GIRL'S BOOK. 113 

your bands to it. This is done as follows : — The 
mistress of the play takes a sixpence or fiv^epenny bit, 
and wetting it with her tongue, pretends to stick it 
very fast on the forehead of the owner of the pawn. 
In reality she withdraws it immediately, and conceals 
it in her own hand ; but makes the owner of the 
pawn believe that it is all the time on her forehead ; 
and she is easily deceived, as she is not permitted to 
put up her hand to feel ; and all the company hu- 
mour the joke, and pretend that the sixpence is actu- 
ally sticking there. She shakes her head, and tries 
every means (except the interdicted) to make the six- 
pence drop oiF, wondering she does not see it fall, and 
amazed that it sticks so fast, supposing it to be really 
on her forehead. No one must undeceive her. 
Whenever she discovers the trick, and finds that in 
reality there is nothing on her forehead, her forfeit 
may be restored to her. If she puts up her hand to 
feel for the sixpence, she must pay another pavvm. 

THIRTY-NINTH. 

Stand in the corner till some one prevails on voit 
to come cut, though all your answers must be ^' No.-* 
The dialogue, that ought to take place, is as follows^ 

8 



114 THE AMERICAN GIRL'S BOOK. 

or something to this effect ; but it may be varied, ac- 
cording to the ingenuity of the questioner : — 

" Do you wish to remain in the corner ?" 

" No." 

" Is it very irksome to you ?" 

^- No." 

" Shall I lead you out in half an hour ?" 

" No*'' 

" Are you willing to stay here all night ?" 

'' No." 

^' Shall I go away, and leave you here ?" 

"No." • ^ ^ 

" Will you remain in the corner another moment ?" 

" No." 

The answer to the last question implies a consent 
to quit the corner immediately, therefore you must be 
led out. 

FORTIETH. 

Walk three times round the room with a boy's hat 
on your head, and bow to the company as you 
take it off. 

FORTY-FIRST. 

Spell Constantinople. When this is done, after the 
speller has gone through the three first syllables, 



THE AMERICAN GIRL'S BOOK. 115 

Con-stan-ti — ^the other girls must call out — no — no — 
meaning the next syllable. If the speller is not aware 
of the trickj she will suppose that they wish her to 
believe she is spelling the word wrong, and she will 
stop to vindicate herself ; in which case she is liable 
to another forfeit. If she knows the trick, she is con- 
vinced that she is right, and will have sufficient pres- 
ence of mind to persist in spelling the word, notwith- 
standing the interruption. If she gets through it 
without stopping, the pawn is restored to her. 

FORTY-SECOND. 

Take a cent out of a plate of meal, without flouring 
your hands. A cent, covered up in meal, is brought 
to you. You take the plate and blow all the flour off 
the cent ; after which you can easily take it up in 
your thumb and finger, without getting your hands 
dusted. 

FORTY-THIRD. 

Shoot the robin. This is done by blindfolding the 
owner of the pawn, and leading her to a part of the 
room where a sheet of paper or a handkerchief has 
been pinned to the wall. She is directed then to 
shoot the robin, which she must do by starting for- 



J16 THE AMERICAN GIRL'S BOOK. 

wardsy extending' her right arm, and pointing her fin* 
ger so as to touch the sheet of paper. Whenever she 
succeeds in doing so, her forfeit is restored. Her 
finger had better be blackened with a coal, a burnt 
cork, or something that will leave a mark on the 
paper. 

FORTY-FOURTH. 

Walk round the room, and kiss your shadow in 
each corner. 

FORTY-FIFTH. 

Kiss both the inside and outside of a reticule, with- 
out opening it. This can only be done when the 
drawing-string of the reticule is some distance from 
the top, and when the lining appears above it. When 
you kiss the lining of the flaps or scollops at the top 
of the reticule, then you may be said to kiss the 
inside. 

FORTY-SIXTH. 

Two pawns may be redeemed at once, by the per- 
sons to whom they belong lamenting the death of the 
king of Bohemia. They must go to opposite ends of 
the room, and then turn round and advance so as to 
meet in the centre. One must walk very slowly with 



THE AMERICAN GIRL'S BOOK. 117 

her handkerchief to her face, and say to the other, m 
a melancholy tone : " The King of Bohemia is 
dead." The hearer must then pretend to burst into 
tears, and say : " Is it possible ! Sad news ! sad 
news !" Both must then exclaimj " Let us cry for 
the king* of Bohemia !" 

All this must be performed in a lamentable voice 
and with disconsolate faces. If they laugh, the 
forfeits must be redeemed over again. 

FORTT-SEVENTH. 

When a line is given out to you, answer it with 
another that will rhyme to it. 

FORTY-EIGHTH. 

Sit down on the carpet close to the door (which 
must be shut) and say : 

Here will I take my seat under the latch, 
Till somebody comes a kiss to snatch. 

- The pawn is redeemed as soon as one of your 
playmates kisses you. 

FORTY-NINTH. 

A number of pawns may be redeemed together, by 
the owners all sitting in a row and playing Mrg 



118 THE AMERICAN GIRL'S BOOK. 

M'Tavish ; which is performed by the following 
dialogue going round : 

" Mrs M'Tavish has fainted away." 

" Is it possible ? How did she faint ?" 

" Just so." 

The speaker then throws herself back, and looks as 
if she was fainting. The one next to her then, in 
turn, announces the fainting of Mrs M'Tavish. Thus 
the play goes on, till all engaged in it have performed 
the fainting, and this redeems the forfeits. The 
whole must be done without laughing. The modes 
of fainting should all be as different as possible, and 
may be made very diverting. 

FIFTIETH. 

After a number of pawns have been sold, those that 
are left on hand may be redeemed all at once, by the 
whole company performing a Cat's Concert. That 
is, they must all sing together, as if in chorus ; but 
each must sing a different song and tune. One verse 
will be sufficient. 



5>12,iiir3 "^HWM ?S©ir39 




THE GRACES, 



This is played witli two small hoops and four 
sticks. Each player takes a pair of sticks and a hoop, 
and stands opposite to her adveisary. The sticks are 
held one in each hand, so as to cross ; the hoop is 
hung on their points, and then tossed over to the 



THE AMERICAN GIRL'S BOOK. 121 

Other player, who must endeavour to catch it on the 
points of her sticks, having first toissed her ovvn hoop 
towards her opponent. The hoops are thus alter- 
nately thrown backwards and forwards, and received 
on the points of the sticks, Vv'hich are always held 
across each other. Every time the hoop is success 
fully caught, without being allowed to fall to the ' 
ground, counts one ; and the player, who can count 
most when the play is over, wins the game. To be- 
come so dexterous as always to catch the hoop, re- 
quires considerable practice. Beginners had better 
commence with one hoop, only, between them ; as it 
is much easier thaai to keep two going at once. This 
little game affords very good and healthful exercise, 
and, when well played, is extremely graceful. It is, 
liowever, too difficult for small children, unless they 
are uncommonly alert, 



w 




BATTLEDORE AND SHUTTLECOCK. 



This game may be played either single or double ; 
that isj by one or by two persons. The shuttlecock (or 
bird, as some call it) is a cork, with a bunch of small 



THE AMERICAN GIRL^S BOOK. 123 

feathers stuck into one end. The battledore, or 
bat, is the instrument by which the shuttlecock is 
struck. 

To play single battledore, you must strike or toss 
the shuttlecock perpendicularly, or up and down ; 
catching it every time on the battledore, which you 
hold in your hand horizontally. 

Double shuttlecock is played by two persons, stand- 
ing opposite to each other. The battledores are held 
up so as rather to incline forwards, and the shuttlecock 
is struck backwards and forwards horizontally, each 
as it reachrs her battledore driving it back again 
towards her adversary. 

Each player must count how many times in suc- 
cession she can keep up the battledore, without allow- 
ing it to fall to the ground. 



124 THE AMERICAN GIRL^S BOOK. 



LOTO. 

A Loto Box, which may be had always at the Geiv 
man or French toy-shops, should contain cards mark- 
ed with figures (as 2, 15, 24, 8, 40, &c.) ; a bag of 
buttons with figures on the under side ; a round 
wooden plate to lay them on when not wanted ; and 
a little basket with counters, which are round pieces of 
ivory resembling wafers. This game may be played 
by any number of persons from two to twelve. 

A card is laid before each player. The one, ap- 
pointed to call out the figures, keeps the bag beside 
her, and, taking out the buttons one at a time, pro- 
claims the number she finds on it. If, for instance, 
the number announced is 65, each of the players 
must look for that figure on her card. If it happens 
to be there, she must lay one of the counters on it ; 
the basket being placed on the table to begin the 
game with. If the next number, produced from the 
bag of buttons, chances to be 18, whoever finds the 
figure 18 on her card covers it with a counter. If 
but few are playing, it may happen that none of their 



THE AMERICAN GIRL'S BOOK. 125 

cards may contain the iSgure that is wanted ; in which 
case, there is nothing to be done but to draw out an- 
other button from the bag. The buttons, after hav- 
ing been called, are laid on the wooden plate in the 
middle of the table, and when all the counters in the 
basket are exhausted, they (the buttons) may be used 
to cover the figures on the cards. She, that suc- 
ceeds first in getting all her figures covered, is the 
winner of the game. If the company is small, 
the cards that have been used are laid aside after the 
conclusion of the game ; and new ones, for the next 
game, are taken from the box. 

When only a few are playing, two or three cards 
may be allotted to each person. But this considerably 
lengthens the game, as a longer time is required to 
look over several cards in search of the right figure, 
than is necessary wdien there is only one card. When 
very little girls are playing, we would recommend that 
each of the company should have but one card at a 
time. 



126 THE AMEKICAN GIRL'S BOOK. 



DOMINO. 

A domino-box contains twenty-four oblong pieces 
of ivory, each divided into two parts by a line down 
the middle, and marked with round black spots. 
Each piece contains spots w^hich designate two num- 
bers, as four and six, three and five, and some have 
two sixes, two threes, &c. 

This game is best played by two persons only, one 
of whom distributes the dominos with the blank side 
uppermost, allotting an equal number to each player. 
The dominos must then be set up on the edge, and in 
such manner that your adversary cannot distinguish 
the spots. She, that has not dealt or distributed the 
dominos, must begin the game by laying one of her 
pieces in the middle of the table. Supposing that 
Jane and Lucy are playing, Jane may commence 
with a piece that contains the numbers five and two. 
Lucy must then look in her collection for a piece that 
has on it either a five or a two. She finds one that 
has five spots on one half, and six on the other. She 
lays it close to the one that Jane has just played, and 



THE AMERICAN GIRL'S BOOK. 127 

in such a manner that the two fives meet each other. 
The numbers now wanted are two and six. Jane 
finds among hers a six and four, and lays it next to 
Lucy's six. Lucy must now seek for a four or a two, 
as those are the numbers at the ends of the fine of 
dominos that have been played. She finds one with 
two and three, and places the two next to its corres- 
ponding number, so that the numbers now to be play- 
ed are four or three. In this manner the play goes 
on, till all the dominos have taken places on the 
board, or middle of the table. If one of the players 
finds that she is unable to match either end of the 
row or line, she loses her turn, and her adversary 
plays instead of her. The winner of the game is she 
that has first played out all her dominos. 




CHEQUERS OR DRAUGHTS* 



This game is played by two persoiiSj on a boai'd 
with 32 black squares and 32 white ones* The pieces 
(or men, as they are commonly called) are twenty- 
four in number, one dozen of one colour, the other 
dozen of another. We w^ill suppose them to be white 
and red, and that Maria and Louisa are playing. 
Maria takes the red and Louisa the white men, and 
they are placed in rows on the black chequers, so as 



THE AMERICAN GIRL^S BOOK. 129 

to leave two lines of empty black chequers in the 
middle of the boards as a space on which to begin the 
game. 

The men can only be moved into one chequer at a 
time, and from one black square to another. You 
must always move diagonally or slanting, and never 
cross over a white square. All your moves must be 
towards your adversary, and from yourself. The 
aim of each player is to reach the extremity, or the 
farthest squares on the opposite side of the board, and 
to take as many of her antagonist's pieces as possible. 
By taking her pieces, you weaken her force ; and, by 
arriving at the last line on the other side, your men 
become kings, and are then empowered to move either 
backwards or forwards ; always however moving di- 
agonally, and only into the next black square. 

The players, of course, move their pieces alternate- 
ly. If, in moving, Maria leaves a vacant black 
square behind one of her men, and Louisa has a man 
immediately next to it, she can jump over Maria's 
man with hers and take him captive. He is then laid 
aside, and is used no more during the game, except 
for the purpose of crowning a king. All the taking 
9 



130 THE AMERICAN GIRL'S BOOK. 

must be done diagonally, or in a slanting direction^ 
and (except with a king) you can only take towards 
j^our adversary. If Maria moves up a man close to 
one of Louisa's, with a view of taking him at the 
next move, Louisa may find perhaps that she can 
save him by filling up the vacancy with another of 
her men. Two men, if left unprotected, can be 
jumped over and taken at one move, but then there 
must be a vacant space diagonally behind each. 
Sometimes, after Louisa has just taken a man, Maria 
is immediately able to retahate by at once capturing 
the victor. This, however, should have been foreseen, 
and guarded against on the part of Louisa. A man 
may be saved by moving him in between two 
others. 

When you have succeeded in getting a man safely 
to the opposite extremity of the board, he becomes a 
king, and is crowned by placing on him one of the 
men that has been taken and laid aside. 

A king can move and take either way, backwards 
or forwards ; therefore as he has more power tlian a 
man, the player who has most kings generally wins 
the game, or could do so if he manages rightly. 



THE AMERICAN GIRL'S BOOK. 131 

The play is at an end when all your adversary's 
pieces are taken, or driven into corners from which 
they cannot move. 

If you neglect an opportunity of taking when you 
have it in your power, you forfeit your own man, and 
your adversary then removes him from the board. 
This is called huffing. The first move at the com- 
mencement of the game is allotted to each player in 
turn. 




FOX AND GEESE. 



This game is played on a board marked as above. 
Fifteen men (the same as those in chequers or 
draughts), twelve being of one colour and three of a- 
nother, compose the flock of geese. The fox is repre- 
sented by two men placed one on another, (like the 
king in chequers,) or by a thimble, or something sim- 



THE AMERICAN GIRL'S BOOK. 133 

ilar. One player takes the fox oDly, the other has the 
fifteen geese. 

Place the fox on the round spot in the very centre 
of the board, and the geese at the stations or points 
marked by dots. The fox can move both ways, eith- 
er backward or forward. The geese move forward 
only. 

The object of the geese is to pen up the fox so that 
he cannot move to any advantage. The fox must 
try to lessen the number of geese by taking as many 
as he can. He takes by jumping over every one that 
has a vacancy immediately behind it, and if he suc- 
ceeds in capturing so many geese that not enough are 
left to pen him up, he of course wins the game. The 
geese win, if they can manage to surround the fox so 
closely that he has no way to get out. 

Neither fox nor geese can move to more than one 
point at a time, and they must always keep along the 
line. 

With a large sheet of paper, a pen and a ruler, it is 
very easy to make a board for playing this game. 




MORRICK. 



This game may easily be learned by children of four 
or five years old. A morrice-board is frequently 
found on the back of the small German chequer- 
boards and it is played with the same men or pieces. 
But if you have no other board for this game, it is 
very easy to draw one after the above pattern, on a 
large sheet of paper, with pen and ink, and a ruler. 
Morrice is played with eighteen men ; nine of each 
colour. The object is to make rows of three men on 
a line, and to prevent your adversary from doing so- 



THE AMERICAN GIRL^S BOOK. 135 

Susan may take the red men, and Mary the white, 
but the pieces are not placed all at once on the board, 
as in chequers. Each player puts down one man at 
a time alternately, always placing them on the 
angles, or where the lines cross each other. Three 
will make a row, if they are all placed on a straight 
line ; and if cleverly arranged, one man may form a 
part of two rows. 

If Susan sees that Mary has nearly made a row, 
she may prevent her by interposing one of her own 
men. If Mary succeeds in making a rovv^, Susan 
forfeits one of her own men, which Mary takes up and 
lays aside. In seizing a forfeit-man she must not 
break one of Susan's rows, if she can possibly 
avoid it. 

When all the men have in this manner been 
placed on the board, the players may begin to move. 
All the moves must be along the line, and only from 
one point to the next, each time. The object is still 
to make rows, by moving the men to different parts 
of the board, and intercepting your adversary. When- 
ever you make a new row, you take up and lay aside 
one of your antagonist's men. As soon as the num- 
ber of your men is reduced to two, you may give 



136 THE AMERICAN GIRL'S BOOK. 

up the game as lost ; three being always necessary 
to complete a row. 

The writer has seen this game played in the 
country, by childreUj who, for want of a better appa- 
ratus, had made a morrice-board by chalking the lines 
on the lid of an old box, using dried beans and grains 
of corn as substitutes for the red and white men. 



JACK STRAWS. 

Jack straws of ivory can be bought in little boxes 
at the toy-shops ; but they can easily be made at 
home with a small knife and some pieces of cedar, 
or any other wood that will not break easily. They 
must be cut into long shps of six or eight inches in 
length, and the thickness of a small straw ; and each 
must be marked with a figure, as 1, 2, 3, 4, 5, &c. 
The little stick, called the picker, must be rather 
stouter than the straws, and furnished at the end with 
a liook made of fine wire, or of a bent pin. The 
jack-straws may be made in various forms, as little 
guns, swords, spears, axes, arrows, &c. ; on the broad 



THE AMERICAN GIRL'S BOOK. 137 

ends of which, the numbers may be marked with pen 
and ink. 

Any number of persons may join in this amuse- 
ment. She, that begins the play, takes up the bundle 
of straws in her hand, and then lets them fall in a 
heap on the middle of the table. She then takes the 
picker, and endeavours, by its assistance, to lift the 
jack-straws one by one from the heap, without sha- 
king the ^ile or disturbing it. As she takes them up, 
she lays them beside her on the table. 

If she shakes the heap, she must then quit playing, 
and resign the picker to the next in turn, who pur- 
sues the game in the same manner, till she is so 
unlucky as to disturb the pile ; upon which, she also 
leaves off playing, and resigns the picker to the 
next. 

When all the jack-straws are taken up, the game 
is over. As they are all numbered, each number 
counts one. 

When the game is finished, each player must add 
up the numbers of the straws in her own pile. Who- 
ever counts the most has won the game. 




LITTLE GAMES WITH CARDS. 



GENERAL DIRECTIONS. 

There are fifty-two cards in every pack, and of 
these cards there are four suits ; two red, which are 
Diamonds and Hearts, and two black, which are 
Spades and Clubs. In every suit there are ten cards, 
marked with spots, in different numbers, from one to 
ten. Those that have but one spot are called Aces, 



THE AMERICAN GIRL'S BOOK. 1^ 

The Ace of Spades is always handsomely ornament- 
ed with the National Coat of Arms, or some other 
device. The kings, queens, and knaves, are called 
Court Cards. The four kings have crowns on their 
heads, and long robes down to the ground. The 
queens wear hoods. The knaves have short coats, 
which do not cover their legs. In many games, the 
aces are considered superior to the kings ; the latter 
being above the queens, and the queens are superior 
to the knaves. 

Previous to beginning the game, the cards are shuf- 
fled by mixing them indiscriminately with the hands. 
The whole pack or pile is then laid on the table, and, 
if all the company are equally expert, they may cut 
for deal. If not, the dealing or distribution of the 
cards should be allotted to the one that is likely to do 
it best. In cutting for deal, you hft al^out half the 
cards from the pack, and look at the bottom after you 
take them up. She w^hose card, on showing it, proves 
to be the highest number, takes the pack and deals ; 
distributing them equally all round. When the 
cards are dealt, (which must always be done of course 
with the blank side uppermost,) each player takes up 
hers and examines them, taking care not to allow 



140 THE AMERICAN GIRL^S BOOK. 

any one else to see what she has. They had better 
be assorted, putting all of each suit together ; but this 
should be done very quickly, always being cautious to 
hold them so as not to be seen. The proper way of 
holding a handful of cards is to take them in your left 
hand, spreading them out like a fau, putting all your 
fingers at the blank side, and confining them on the 
face or coloured side with your thumb only. When 
you are going to play a card, take it out from the rest 
with the thumb and forefinger of your right hand, and 
lay it on the table. 

You must neither show your own cards nor peep at 
the cards of your companions. 

The cards must always be well shuffled previous 
to dealing. 



EXPEDITION. 

This is a very easy little game, and is soon over. 
We will suppose Mary, Lucy, Jane, and Susan to be 
playing. Tlie cards having been well shuffled by 
Mary, they all cut for deal. Susan turns up a three, 
Jane a five, Lucy a king, and Mary a seven. Of 



THE AMERICAN GIRL'S BOOK. 141 

coursej Lucy deals, her card being the highest. She 
deals out the whole pack equally, beginning with 
Jane and ending with herself, and turning up the last 
card, (which is the ten of clubs,) and laying it in the 
middle of the table. In this game, -the players do not 
look at their cards, but keep them before them on the 
table in an even pile, with the blank side uppermost. 

As the card turned up on the table is the ten of 
clubs, Jane, who plays first, must take a card off her 
pile, and, turning up its face, lay it on the ten of clubs. 
It may possibly be the five of hearts, or the three of 
spades ; but she is to continue to play one card after 
another, till she happens to come to a ten. When she 
has chanced to arrive at the right card, she takes up 
all that have been already played and lays them aside. 
Susan being next, plays a card in her turn, w^hich 
perhaps is the six of diamonds ; and Lucy, who is 
next, must take cards off' her pile, and play them till 
she comes to a six. She then takes up those that 
have just been played, and puts them aside. Mary's 
turn now comes, and she plays the four of spades, and 
Jane lays cards on it till she comes to a four. The 
next card that is laid out to be matched is the king of 
spadesj and finally a king is played upon him. 



142 THE AMERICAN GIRL'S BOOK. 

In this mannerj the game goes round, and she is 
the winner who ' has played out all her cards first — 
for instance, Mary. 

It is to be observed, that the players do not look at 
their cards, and know not what they are playing till 
they have taken it from the pile before them and 
turned up its face. 



RECRUITING OFFICER. 

This little game is very simple, and can be played 
by any number. 

Deal a card to each of the company, and a card to 
the board (that is, a card must be laid in the middle 
of the table), and continue to do so till the whole pack 
is dealt out, by which time there will be as many 
cards on the board, as have fallen to the share of each 
individual, and if there are two of a sort, they must be 
laid one on another. 

Every one in turn must try to match one of the 
cards on the board by playing on it a similar one from 
her own hand. Thus an ace must be played on an 
ace, a ten on a ten, a king on a king, &c. No one 



THE AMERICAN GIRL'S BOOK. 143 

must play two cards at once ; but, if she has two of a 
sort Uke any one on the board, she must not play the 
second till her companions have had their turn of 
trying to match something. 

When all the four cards of the same number are 
out, they must be turned down with the blank side 
uppermost, to show that there is nothing more to be 
done with them. 

Whoever is unable to match any of the cards on the 
board, loses her turn of playing. 

When all the cards on the board have been match- 
^, they must ])e put aside, and a new board formed 
by each of the company shufHing the cards in her 
hand, and, without looking at them, dealing one to the 
board. The play then goes on as before. She, that 
first succeeds in playing out all her cards, is the win- 
ner of the game, 

TOMMY COME TICKLE ME. 

The whole pack having been dealt out, Mary, the 
leader, plays any card she pleases, (for instance, a 
king,) saying, as she lays him down, ^' Here's a very 



144 THE AMERICAN GIRL'S BOOK. 

good king for me." Lucy then plays another king, 
and says, " Here's another, as good as he ;" Jane 
plays a third king, saying, " Here's the best of all the 
three ;" and Anne, who plays the fourth king, says, 
" And here's Tommy come tickle me." 

If, when your turn comes, you cannot play the 
required card, you must say, " It passes me." 

If you happen to have in your hand two cards of 
the sort that is wanted, you may play them both in 
immediate succession ; and the same if, by a rare 
chance, you have three. 

She, who plays the fourth card or " Tommy come 
tickle me," takes up the trick, as it is called, and lays 
it beside her. It is then her turn to play the next. 

The one that is out first is the winner. 



OLD MAID, OR OLD BACHELOR. 

This game, when played by boys, is called Old 
Bachelor, and three of the knaves are taken out of the 



THE AMERICAN GIRL^S BOOK. 146 

pack and laid aside ; the fourth knave bemg retained 
as the Old Bachelor. 

When played by girls, three of the queens must be 
put away as useless ; the fourth queen remaining in 
the pack to personate the Old Maid. This game may 
be played by any number, and the cards are dealt 
equally all round. Whoever, on looking at her cards, 
finds among them the queen, or Old Maid, is to keep 
that circumstance a secret from her companions. She 
that sits at the left hand of the dealer leads or begfins 
the game, which she may do by throwing down two 
aces if she has them, or two kings, two tens, or any 
two cards of the same sort. Her left-hand neighbour 
comes next, and throws down two nines or two fives. 
If she cannot play two of the same kind, she must 
borrow one of her next neighbour on the left hand, 
who for that purpose lays down her cluster of cards 
on the table (the blank sides uppermost), and the bor- 
rower selects one at random, without knowing what 
it is. If she finds it the sort of card that she wants, 
she plays it with the corresponding one of her own. 
If it is a card that is at present of no use to her, she 
must keep it for another time, and in consequence 
loses her turn of playing. 

10 



146 THE AMERICAN GIRL^S BOOK. 

The next then may play two fours or two sevens, 
or borrow (if she cannot play) two that are similar ; 
and if she chance to borrow the Old Maid, it will of 
course be useless to her, as there is no other card to 
match it, the three other queens having been left out 
of the pack. However, she must say nothing about 
it. Some one may unconsciously borrow it of her 
in the course of the game. 

After awhile, there will be more difficulty in match- 
ing the cards, and the borrowing and losing of turns 
will increase, as no one must play unless they can lay 
down two that are alike in number. Whoever is the 
first to play out all her cards, wins the game ; but it 
is continued by her companions as long as any cards 
are left, that they may see who has the Old Maid, 
which will be the last that remains. 

The cards, as they are played, are not removed 
from the middle of the table, but lie there in a heap 
with their faces upwards, till the game is over. 

SPECULATION, OR MATRIMONY. 

This game must be played by four persons ; at 
least it does not go on so well with a larger or smaller 
number of players. 



THE AMERICAN GIRL'S BOOK. 147 

The cards having been dealt equally all round, 
every person is to look over hers and ascertain (though 
without mentioning it) the sort of which she has most. 
Whoever succeeds first in obtaining all of one sort, 
wins the game. 

For instance, if Mary, on examining her cards, 
finds that she has a large proportion of spades, she 
may set her mind on winning the game by collecting 
a whole handful of spades, and getting rid, as soon as 
possible, of all her ckibs, hearts, and diamonds. To 
effect this, she begins by taking one of her clubs, or any 
other card that she does not want, and turning it down 
on its face, she slips it along the table to Lucy, her left- 
hand neighbour. Lucy, before she looks at the card 
Mary has given her, (and having perhaps set her 
mind on collecting none but diamonds,) takes one of 
the cards she wishes to get rid of, and slips it, with 
the blank side uppermost, to Jane ; and, before Jane 
takes up Lucy's card, she must slip one of hers that 
she does not want to Fanny ; who, having fixed on 
hearts, slips one of her spades to Mary, which happens 
to be the very thing that she wanted. Mary, before 
she sees Fanny's card, having again given one of 
hers to Lucy. Thus the game goes roundj and if 



148 THE AMERICAN GIRL'S BOOK. 

Mary succeeds in changing away all her other card&v 
and constantly chances to receive spades for them, her 
hand will soon be filled with spades only ; and, as 
soon as she has completed her suit, she must display 
her cards and proclaim herself the winner. Perhaps, 
however, Lucy may be beforehand with her, and ob- 
tain a full suit of diamonds, in which case, Lucy wins 
the game. 

If Mary perceives, by the cards that are sent to her, 
that another person has also fixed on spades, she had 
better change her mind and set it on hearts or some- 
thing else, in which she will probably succeed better, 
as it is impossible for two to obtain a handful of the 
same suit. 

Every one must keep her own secret with respect 
to the suit she has determined on, and no one must 
look at the card that is given her, till after she has 
slipped her own card to her left-hand neighbour. 



LEND ME YOUR BUNDLE, NEIGHBOUR. 

^ This may be played by any number. Deal a card 
to every one, and a card to the board, or table. 



THE AMERICAN GIRL^S BOOK. 149 

Each, in turn, must try to match a card on the board 
with one in her hand, playing a five on a five, a nine 
on a nine, a king on a king, &c. Having done so, 
she takes up both, and lays them beside her, with the 
faces upward. If she can match nothing from her 
own stock of cards, she must look out among her 
companions for a pile or bundle, which they have 
taken and laid beside them, and which may have on 
the top such a card as she wants. For instance, if 
she sees that, by taking one of the piles, she can 
match one of the aces on the board, she appropriates 
to herself that whole pile, with no other ceremony 
than that of saying, ^^ Neighbour^ neighbour, lend me 
your bundle." 

Having by this means enabled herself to take a 
card from the board, (which card she lays beside her 
with the face upwards on the top of her own pile) she 
keeps in her hand the bundle of which she has just 
deprived her neighbour, and uses the cards as she does 
her own. 

If you cannot by any means obtain a card that will 
match one on the board, that is, if you have none a- 
mong those in your hand that will answer your pur- 
pose, and if you see none that you want on the top 



150 THE AMERICAN GIRL'S BOOK. 

of any of your neighbours' bundles, you lose your 
turn and for that time have no chance of playing. 

You have not the privilege of using your own pile 
of tricks or taken cards ; though you may make free 
with those of your neighbours. 

As soon as any one has played out all her cards, 
the game ceases. The bundles are then examined, 
jind the cards in each are counted. Whoever finds 
the largest number of cards in her pile is the winner 
of the game ; therefore, during the progress of the 
play, every one is glad to accumulate as many as she 
can, and would be sorry when she is deprived of her 
bundle by a neighbour, if there was not at the same 
time something diverting in the coolness with which 
the thing is done. 

When all the cards on the board are taken up or 
exhausted, a new board must be formed, by each of 
the players contributing a card for that purpose. To 
do this, each must shufHe the cards she has in her 
hand, lay them down blank side upwards, and take 
out one at random for the board. 



THE AMERICAN GIRL'S BOOK. 151 



FIVE AND FORTY. 

This game may be played by any number. It 
has no resemblance to any of the other little games. 

Five cards only are dealt to each person, and then 
a card is turned with the face upwards and left on 
the top of the pack. This is the trump card, and all 
of the same suit are considered superior to the others 
and can take them immediately. We will suppose 
that hearts are trumps, and that the game goes on as 
follows. Lucy having dealt, Anne who is on her 
left hand begins the game, and plays the six of clubs, 
which her companions endeavour to take by pla3dng 
higher cards ; as, in this game, it is not necessary to 
follow suit, the highest card always taking, Mary 
thinks she will gain the trick by playing a king, but 
Jane finally triumphs with the three of hearts, which 
though a low card is a trump and therefore of more 
power. Anne hopes to take the next trick by playing 
the king of trumps, but Mary has the ace and there- 
fore obtains it by trumping higher. Anne had better 
not have played her king till she had seen that the 



152 THE AMERICAN GIRL^S BOOK. 

ace was out. She, that happens to have the greatest 
proportion of trumps m her hand, of course can get 
the most tricks. Every one lays her own tricks be- 
side her in separate order, and counts them when the 
deal is over ; each trick counting five, and forty-five 
being game. This time we will suppose that Mary 
has three tricks ; therefore she counts fifteen* The 
cards are then shuffled and dealt again, the card turn- 
ed up as trump being a club. Jane has the most 
trumps in her hand, and this time Mary gains but 
two tricks, which with three before make her twenty- 
five. 

Next time, diamonds are trumps, and Mary has 
both the king and the ace and two low trumps beside. 
She now gains four tricks to her share, which making 
her forty-five, she wins the game, none of her com- 
panions counting so high. 

After this the cards are shuffled, and a new game 
begins. It must be remembered that the highest card 
always takes, without reference to the suit ; that she 
who has last gained a trick, leads or plays the next 
card ; that a trump will take any thing unless it is 
itself taken by a higher trump ; and that each trick 
counts five. 



THE AMERICAN GIRL'S BOOK. 



153 




A CARD HOUSE. 



To build a card-house, take two cards and stand 
them up, so as to face each other, and meet at the top 
in the form of a tent. Then encompass them with 
four other cards laid on their edges and representing 
a wall ; and on the top of these, lay two more as a 
roof. 

To build a two-story card-house, place on the first 
roof two cards in the tent-form, then add the walls 
and the second roof. In this manner you may con- 
struct as many stories as you please, one above anoth- 
er, till the whole pack is built up. 

A card-house should be erected on a very steady 
table, and great care must be taken not to shake it. 



154 



THE AMERICAN GIRUS BOOK. 




A CHEESECAKE OF CARDS. 



This is raade by laying two cards across and then 
fixing round them four other cards ; which are secur- 
ed by raising the corners of the two first, and shpping 
the last four under them. 

^ These cheesecakes (as they are called) may, if well 
made, be carried about on the palm of the hand with- 
out falling apart. 



THE AMERICAN GIRL'S BOOK. 155 



AN EASY TRICK WITH CARDS. 

It is best to perform this trick with the black cards 
or clubs and spades only ; at all events the diamonds 
must be left out. We will suppose that Jane is the 
exhibiter. Having the black cards in her hand she 
must manage (while talking to Lucy Vvith apparent 
unconcern) to get all the heads or tops of the cards 
upwards or in the same direction. She then spread- 
ing them out hke a fan in her hand holds them to- 
wards Lucy and desires her to choose or draw out any 
card she pleases, and to take it and look well at it. 
Lucy draws the queen of spades, for instance ; and 
while she is looking at it. Jane dexterously turns all 
the other cards upside down, so that when the queen 
of spades is put back among the rest, it of course has 
the head the other way ; which, however, is unob- 
served by Lucy, if she is not acquainted with the 
trick. 

Jane then shuffles the cards, taking care not to turn 
them again so as to get them wrong. She tells Lucy 
that she can find the very card that she drew out. 



156 THE AMERICAN GIRL'S BOOK. 

She then lays out the cards one by one on the table, 
looking at them as she does so, and when she comes 
to the queen of spades she knows it to be Lucy's card 
because the head is upright, while the heads of all the 
others are downwards. 

This trick, though very simple, excites great sur- 
prize in those who have not seen it before. 



GAMES WITH HISTORICAL CARDS. 

The Historical Games of Philadelphia, Boston, (fee. 
are played as follows : 

In the Game of Philadelphia, for instance, are sixty 
cards, the labels or titles of which are coloured red, 
blue, green, and yellow. There are four cards on 
each distinct subject ; that is, four cards of William 
Penn, four of Dr Franklin, four of the State-House, 
&c. 

We will suppose the game to be played by Maria, 
Julia, Emily, and Harriet. The cards, having been 
shuffled and dealt equally all round by Maria, — Julia, 
as sitting on the left hand of the dealer, begins by 
laying down any card she pleases ; for instance, '^ The 
Treaty Tree ;" first reading aloud the inscription. If 



THE AMERICAN GIRL'S BOOK. 157 

Emily (whose turn comes next) has a Treaty Tree 
card, she also reads it, and lays it down. If Harriet 
has a Treaty Tree, she does the same ; but if she 
has not J she must endeavour to borrow one of her left- 
hand neighbour Maria, who for this purpose holds out 
to her the backs of all her cards, and Harriet takes 
one at random ; and, if it happens to be a Treaty 
Tree, she plays it, first reading it, of course. If it is 
not the card she wants, she must keep it for another 
occasion, and for the present she loses her turn of 
playing. Whoever is out first, wans the game. 

If any one has two cards of the same title (two 
Dock-streets, for instance), she must not play them 
in immediate succession, but keep one till her turn 
comes round again. 

With these Historical Cards any of the other juve- 
nile games may be played. — as, Old Bachelor, Matri- 
mony, &c. omitting to read the inscriptions. 

In playing Old Bachelor with the Philadelphia 
cards, leave out of the pack three of the Dr Franklins, 
and the fourth will answer for the Old Bachelor. 

In playing Matrimony, you must have but twelve 
cards of each colour, and leave out all the rest. 



J2Jl©®ail23<i 



^^^^.- 




THE AMERICAN GIRL'S BOOK. 159 



ENIGMAS, CHARADES, &C. 

Enigmas, charades, rebuses, and conundrums, come 
under the general name of riddles. 

An enigma describes the chief properties or char- 
acteristics of the thing to be guessed. 

A charade must refer to something that has two or 
more syllables, each syllable being a distinct word. 
The sylletbles, when put together, make what is call- 
ed the whole. 

A rebus is founded on a word which may be ex- 
pressed by alluding to other words : frequently adding 
or omitting letters. 

A conundram is a humorous comparison between 
two things very different in their nature. The re- 



160 THE AMERICAN GIRL'S BOOK. 

semblance is made out by a play on words ; fre- 
quently at the expense of a little false spelling, or mis- 
pronunciation. 

We believe, that few of our young friends will be 
displeased at the plan we have adopted of inserting 
the solution immediately after every riddle. It will 
save the trouble of turning continually over the leaves 
and searching out the corresponding numbers. 

Where there are several children, each in turn can 
take the book and read aloud to the others a page or 
two of the riddles, while they, not seeing the answers, 
endeavour to guess them. 



ENIGMAS. 



'Tis true I have both face and hands, 
And move before your eye ; 

But when I move, I ahvays stand. 
And when I stand, I he. 

A CLOCK. 

2. 

'Tis in the church, but not in the steeple, 
'Tis in the parson, but not in the people, 
'Tis in the oyster, but not in the shell, 
'Tis in the clapper, but not in the bell. 

THE LETTER R. 



There is a thing that nothing is. 

And yet it has a name, 
'Tis sometimes tall, and sometimes short. 
It joins our walks, it joins our sport, 

And plays at every game. 

A SHADOW. 

11 



I6i THE AMERICAN GIRL^S BOOK. 

4. 

Let those who have skill to make mysteries cl'ear,. 

Now try to discover my name ; 
Four brothers I have, and the fifth I appear, 

But our age is exactly the same. 
Yet I to their stature shall never attain, 

Though as fa^t as them always I grow ;• 
By nature I'm destined a dwarf to remain — ^• 

So my riddle you'll ecisily know. 

THE LITTLE FINGER. 



5. 

If I kiss you by mistake, 
What war-weapon do I make^. 

A BLUNDER-BUSS. 



Use me well and I'm every body. Scratch my back, and;; 
I'm nobody.. 

A LOOKING-GLASS.. 



What is that which is neither flesh nor bone, and yet has. 
fi)ur fingers and a thumb ? 

A GLOVE.. 



THE AMERICAN GIRL^ BOOK. 163 



8. 

What is that which is perfect with a head, and perfect 
without a head ; perfect with a tail, and perfect without a 
tail ; perfect with a head and tail, and perfect without a head 
or tail. 

A WIG. 



I never was, but always am to be ; 
None ever saw me, you may never see ; 
And yet I am the confidence of all 
Who live and breathe on this terrestrial balL 
The princely heir^ his honours not yet blown, 
Still looks to me for his expected crown ; 
The miser hopes I shall increase his wealth ; 
The sick man prays me to restore his health ; 
The lover trusts me for his destined bride ;. 
And all who hopes or wishes have beside. 
Now name me, but confide not, for believe 
That you and every one I still deceive. 

TO-MORROW. 

10: 

Pray tell us^ ladies, if you can, 
Who is that highly-favoured man, 
Who, though he has married many a wi% 
May be a bachelor all his fife I 

X CLERGYMAN, OR A JUSTICE OF THR PEACE. 



164 THE AMERICAN GIRL'S BOOK. 

11. 

I'm in every one's way, yet no one I stop. 

My four horns each day 

Horizontally play. 
And my head is naiPd on at the top, 

A TURNSTILE. 

12. 

A word of one syllable, easy and short, 
Reads backward and forward the same ; 

It expresses the sentiments warm from the heart, 
And to beauty lays principal claim. 

THE EYE. 

13. 

I am taken from a mine ; shut up in a wooden case, fiom 
which I am never released, and yet 1 am used by almiost ev- 
ery body. 

A LEAD PENCIL. 

14. 

What is that which lives only in winter ; would die in 
summer ; and grows with its root upwards ? 

AN ICICLE. 

15. 

A word of three syllables seek till you find, 
Which has in it the twenty-six letters combin'd. 

THE ALPHABET. 



THE AMERICAN GIRL'S BOOK, 165 

16. 

In spring I look gay, 
Drest in handsome array. 

But in summer more clothing I wear ; 
When colder it grows, 
I throw ofF my clothes. 

And in winter quite naked appear- 

A TREE. 

17. 

When first my maker form'd me to his mind, 
He gave me eyes, yet left me dark and blind ; 
He made a nose, yet left me without smell ; 
A mouth, but neither voice nor tongue to tell ; 
I'm used at night, yet ladies oft, through me, 
Although I hide the face, do plainly see. 

A MASK. 

18. 

We are little airy creatures. 
All of different voice and features : 
One of us in glass is set ; 
One of us you'll find in jet ; 
One of us is set in tin ; 
And the fifth a box is in ; 
If the last you should pursue, 
It can never fly from you. 

THE VOWELS : A E 1 U. 



166 THE AMERICAN GIRL'S BOOK. 

19. 

My head and tail both equal are, 

My middle slender as a bee ; 
Whether I stand on head or heel. 

Is all the same to you or m€ : 
But if my head should be cut off, 

(The matter's true, although 'tis strange,) 
My head and body sever'd thus, 

Immediately to nothing change. 

THE FIGURE 8. If divided^ each part becomes 0. 

20. 

I have but one eye, and that eye without sight, 

Yet it helps me, whatever I do ; 
Fm sharp without wits, without senses I'm bright, 
The fortune of some, and of some the delight, 

And I doubt not I'm useful to you. 

A NEEDLE. 

21. 

Although a human shape I wear, 

I mother never had. 
And though nor sense nor life I share, 

In fmest silks I'm clad. 

By every miss I'm valued much, 

Belov'd and highly priz'd ; 
Yet still, my cruel fate is such, 

By boys I am despis'd. 

A DOLL. 



THE AMERICAN GIRL'S BOOK. U1 

^. 

Of a brave set of brethren I stand at the head, 

And to keep them quite warm I cram three in a bed ; 

Six of them in prison I cruelly put ; 

And three I confine in a mean little hut ; 

To escape my fell grasp, three reside in the sky ; 

And though strange it may seem, we have all but one eye ; 

Our shapes are as various as wond'rous our use is, 

Of science the source, and the soul of the muses. 

THE LETTER A. 

On lookijig over this enigma a second time^ it will be 
^een that thei^e are three letters in the xoord bed, 8i£ in 
the word prison, three in hut, and three in sky. Of 
course there is hut one i in the whole alphabet. 

23. 

Two brothers wisely kept apart, 

Together ne'er employ 'd ; 
Though to one purpose we are bent) 

Each takes a different side. 
We travel much, yet pris'ners are. 

And close confin'd to boot '; 
Can with the swiftest horse keep pace^ 

Yet always go on foot. 

A PAIR OF SPURS. 

24. 

1 am a vehicle that's wond'rous large. 

But neither coach, nor waggon, sliip, nor barge, 



iei THE AMERICAN GIRL'S BOOK. 

Whether sitting, standing, lying, 
With you I'm miles uncounted flying ; 
You hear not a breath while mute as death, 

My journey I pursue ; 
With a mighty swift whirling, I'm constantly twirling, 

But 'tis all unfelt by you. 
Some travel with me, who never can see. 

Nor believe I convey them a yard ; 
And for years I have taken them, 
Nor ever forsaken them, 

And yet claim'd no reward. 
Ai»d, gentles, against or with your will, 
Or sleeping or waking I'll carry you still. 

THE GLOBE OF THE EARTH. 



25. 

I am red, black or white, I am blue, grey, or green ; 

I'm intended to hide what is meant to be seen ; 

Like mortals inflexible often am I, 

Till by the tongue soften'd I'm brought to comply $ 

Of prodigal spendthrifts I am an apt token, 

I only exist to be ruined and broken. 



A WAFER. 



26. 



I was, but am not — ne'er shall be again ; 
Myriads possessed me, and possess'd in vain ; 
To some I prov'd a friend, to some a foe ; 
Some I exalted, others I laid low ; 



THE AMERICAN GIRL'S BOOK. 169 

To some I gave the bliss that knows no sigh, 
And some condemn'd to equal misery. 
If conscious that we met, and but to sever. 
Now say to whom you bade farewell forever. 

YESTERDAY. 

27. 

What force or strength cannot get through, 
I with a gentle touch can do ; 
And many in the ^reet would stand, 
Were I not as a friend at hand. 



28. 

Though I live in a study, I know not a letter ; 
I feast on the muses, but ne'er am the better ; 
Can run over Enghsh, o'er Latin, o'er Greek, 
Yet none of those language? ever could speak. 

A MOUSE IX A LIBRARY. 

29. 

What yesterday was, and what to-morrow will be. 

TO-DAY. 

30. 

Two bodies I have, though they're both join'd in one, 
And the stiller I stand, the faster I nin^ 

AN HOUR'GLASS. 



170 THE AMERICAN GIRL'S BOOK. 

31. 

What is that which by adding something to it, will be- 
come smaller ; but if y<3u add nothing will grow larger* 

A HOLE IN A STOCKING. 

32. 

Suppose there was a cat in each corner of the room ; a cat 
sitting opposite to each cat ; a cat looking at each cat ; and 
u cat sitting on each cat's tail — how many cats would there 
be? 

FOUR. Every one of the four loould be opposite to each 
other ^ might look at each other ^ and would sit on her own 
tail. 

33. 

Mr Jones told another gentleman that he had six daugh- 
ters, and each daughter had a brother — how many children 
had Mr Jones. 

SEVEN. He had one son^ who of course was brother to 
all the six daughters. 

34. 

From the depths of the sea, from the foot of a rock, 
I'm brought to the earth to do dirty work, 
I've mouths to take in all the hquor I meet, 
And ahi given to drinking, though never to eat. 

A SPONGE. 

35. 

1 saw a sight the other day, 
A damsel did begin the fray \ 



THE AMERICAN GIRL^S BOOK. 171 

8he with a daily friend did meet, 
Then standing in the open street, 
She gave such hard and sturdy blows 
He bled five gallons at the nose ■; 
Yet neither did he faint nor fall, 
And o^ave her no abuse at all. 



36. 

As I was going to St Ives, 

I chanc'd to meet with nine old wives. 

Each wife had nine sacks, 

Each sack had nine cats, 

Each cat had nine Idts ; 

Kits, cats, saclcs and wives. 

Tell me how many were going to St Ives ? 

ONLY MYSELF. As I met all the others^ tliey of course 
were coming from aS*^ Ives. 

37. 

Little Miss Netticoat, with a white petticoat, 

And a red nose 3 
She has no feet nor hands ; and the longer she stands 

The shorter she grows. 

A LIGHTED CANDLE. 

38. 

What is that which goes round the house and round the 
liouse and leaves a white sheet in every window 1 

SNOW. 



172 THE AMERICAN GIRL'S BOOK. 

30. 

Rowly bowly sat on a wall, 
Rowly bowly had a great fall ; 
Threescore men and threescore more, 
Couldn't set Rowly bowly as it was before. 

AN EGG ; ivhichj ^vJien it falls and is broken^ can never 
he restored. 

40. 

What is that v/hich in the morning walks on four legs ; 
walks on two legs at noon ; and in the evening walks on 
three legs ? 

Man. In infancy he creeps on all fours ; when grown ztp 
he ivalks erect ; and lohen old and decrepid he is obliged to 
assist his steps loith a stick. This is the famous riddle of 
the Sphinx. 

41. 

What is that which a pudding has, and which every thing 
else that can be found in the world has also ? 

A. NAME. 

42. 

There was a man Avho w^as not. bom, 

His father was not before him. 
He did not live, he did not die. 

And his epitaph is not o'er him. 

* THE man's name WAS NOT^ 



THE AMERICAN GIRL'S BOOK. 173 

43. 

A duck before two ducks ; a duck behind two ducks ; and 
a duck between two ducks. How many ducks were there 
in all ? 

THREE. 

44. 

I am small, but when entire, 

Of force to set a town on fire ; 

Let but one letter disappear, 

I then can hold a herd of deer ; 

Take one more otT; and then you'U find, 

I once contain'd ail human kind. 



SP.ARK. PARK. 



45. 



The beginning of eternity, the end of time and space. 
The beginning of every end, and the end of every place. 



THE LETTER E. 

46. 

In comxes two legs carrying one leg, which he lays down 
on three legs. Out goes two iegs. L^p jumps four legs, and 
runs off with one leg. Back comes two legs, snatches up 
three legs, and throws it afler four legs, to get back one leg. 

A man comes in uith a leg of mutton which he lays 
down on a three-legged stool and goes out. A dog runs 
away with theleg of wutton. The man returns and throws 
the stool at the dog to make him drop the leg of mutton. 



174 THE AMERICAN GIRL'S BOOK. 

47. 

" What relation is that gentleman to you T^ said one lady 
to another. She answered, '' His mother was my mother^& 
©nly child." 

HER SON.. 

4H. 

I'm longer and longer the lower I fall, 
And when I am highest I'm shortest of all.. 

A PLUMMET. 

49. 

I'm a singular creature, pra,y tell me my name — 
I parta]<e of my countrymen's glory and fame, 
I daily am old, and I daily am new, 
I am prais'd, I am blam'd, I am false, I am true — - 
I'm the talk of the nation, while I'm in my prime, 
But forgotten when once Pve outlasted m^y time. 
In the morning no Miss is more courted than I, 
In the evening you see me thrown carelessly by. 
Take warning, ye Fair, — I like you have my day. 
But alas ! you like me must grow old and decay., 

A NEWSPAPER. 



50. 

A man who was going to cross a river in a small boat^ 

had charge of a fox, a goose, and a basket of corn. He 

eould only take one at a tin-e, and was much puzzled how 



THE AMERICAN GIRL^S BOOK. 175 

to get them all over, so as to save them from each other ; 
knowing that if left together, th€ fox would eat the goose ; 
and that the goose could not be trusted alone with the basket 
of corn, which she would certainly devour if allowed to re- 
main with it while the man carried the fox across the river. 
If the goose was taken over first^ it is true that the fox would 
not meddle with the corn ; but then, after being carried 
across the water and left with the goose, he would surely eat 
her while the man went back ibr the corn ; and if the corn 
was taken first, the fox would demolish the goose when left 
alone ^Wth her. 

How did the man manage to convey the fox and the 
goose, and the basket of corn, across the river in safety ? 

He concluded to onakefour tnpSy instead oj three. First^ 
he took the goose, leaving the fox icith the corn. Next 
he took the fox, and brought hack the goose. Thirdly ^ 
he carried over the basket of corn, and lastly he convey- 
ed the goose across the river a second time. 

By this means the fo.v was never left alone with the- 
g'oose, nor the goose with the corn^ 

51. 

Either backward or forward if you take me, ye fair,, 
I am one way a number, the other a snare. 



TEN.. 



^. 



I'm seen at your dinner ; if I were not there, 
But meanly provided your board would appear ; 



176 THE AMERICAN GIRL'S BOOK. 

You seldom invite me to coffee or tea, 

But never, I'm sure, take your wine without me. 

GLASS 

53. 

With all things I'm found, yet to nothing belong ; 
Tho' a stranger to crowds, yet I'm still in a throng ; 
And though foreign to music and all its soft powers, 
In songs and in epigrams, ladies, I'm yours ; 
Tho' a friend to true glory, I'm ne'er in renown. 
Though no kingdom's without me, I hold not a crown ; 
Both with kings and with beggars my birthright I claim. 
But enough has been told to discover my name. 

THE LETTER G. 

54. 

Form'd half beneath and half above the earth. 
We sisters owe to art our second birth ; 
The smith's and carpenter's adopted daughters, 
Made upon land to travel o'er the waters ; 
Swifter we move the tighter we are bound. 
Yet neither touch the sea, nor air, nor ground. 
We serve the poor for use, the rich for whim. 
Sink when it rains, and when it freezes, skim. 

A PAIR OF SKATES. 

55. 

I tremble with each breath of air. 
And yet can heaviest burthens bear ^ 



THE AMERICAN GIRL'S BOOK. 177 

'Tis known that I destroy 'd the world. 
And all things in confusion hurPd ; 
And yet I do preserve all in it 
Through each revolving hour and minute. 

WATER. 

56. 

There is a letter in the Dutch alphabet, Xvliich named 
makes a lady of the first rank in nobility; walked on, it 
makes a lady of the second rank; and reckoned, it makes a 
lady of the third rank. 

Namedj it is dutch-ess. — Walked o??, it is marchion-E9S— 
aTid reckoned^ it is codnt-ess. 

57. 

What is that word of one syllable which, if the two &st 
letters are taken from it, becomes a word of two syllables. 

PLAGUE. AGUE. 

58. 

Eleven great men ; fifteen celebrated women ; twenty-three 
extraordinary children ; thirty-two fine pictures ; a new man- 
ner of cooking oysters ; the best way of making coffee ; a 
great improvement in the cultivation of grapes ; ten fashion- 
able bonnets ; and the substance of a hundred books ; may all 
be expressed by a liquid in common use, and of only one 
syllable. 

INK. 

12 



37i6 THE AMERICAN GIRL'S BOOK. 

59 

Pm seen in the moon, but not in the sun ; 
I'm put in a pistol, but not in a gun ; 
Pm found in a fork, but not in a knife ; 
I belong to the parson, but not to his wife ;: 
I go with the rogue, but not with the thief;; 
Pm seen in a book, l3ut not in a leaf; 
I stay in a town, but not in the street ; 
I go with your toes, but not with your feet.. 

THE LETTER O. 

60. 

In ev'ry city, town, and street, 
'Tis ten to one but me you meet ; 
Sometimes adorn'd in shining gold, 
Splendid and brilliant to behold ; 
And different characters I wear, 
A lamb, or lion, buck or bear, 
A dragon fierce, or angel fair. 
An eagle, or a warrior bold, 
These various forms on me behold t- 
But tho' exalted as a chief, 
Pm gibbeted like any thief; 

A SIGN. 

61. 

1 ever live man's unrelenting foe, 

Mighty in mischief, though Pm small in size ;; 
And he, at last, that seeks to lay me low. 

My food and habitation both supplies.. 

WORM. 



THE AMERICAN GIRL^S BOOK. 179 

62. 

This enigma was written by the celebrated Dr Bylea. 

It is as high as all the stars, 

No well was ever dug so low ; 
It is in age five thousand years, 

It was not made an hour ago ; 

It is as wet as water is, 

No red-hot iron e'er was drier ; 
As dark as night, as cold as ice, 

Shines like the sun, and burns like fire ; 

No soul, no body to consume. 

No fox more cunning, dunce more dull j 

'Tis not on earth, 'tis in this room, 
Hard as a stone, and soft as wool ; 

'Tis of no colour but of snow ; 

Outside and inside, black as ink ; 
All red, all green, all yellow, blue^ 

This moment you upon it think. 

In every noise it strikes your ears ; 

'Twill soon expire, 'twill ne'er decay ; 
It always in the light appears, 

And yet 'twas never seen by day. 

Than the w^hole earth it larger is, 

Than a small pin's point it is less .; 
I'll tell you ten times what it is, 

Yet after all you shall not guess. 

*Tis in your mouth ; 'twas never nigh ; 
Where'er you look you see it still ; 



180 THE AMERICAN GIRL'S BOOK. 

'Twill make you laugh, 'twill make you cry y 
You feel it plain, touch what you will* 

SOMETHING. 

63. 

Before creating Nature wilPd 

That atoms into forms should jar. 
By me the boundless space was filPd, 

On me was built the first-made star. 
For me the saint will break his word 5 

By the proud atheist I'm rever'd ; 
At me the coward draws his sword ; 

And by the hero I am fear'd. 
Scorn'd by the meek and humble mind, 

Yet often by the vain posess'd ; 
Heard by the deaf, seen by the blind. 

And to the troubled conscience rest ; 
Than Wisdom's sacred self I'm wiser, 

And yet by every blocldiead known ; 
I'm freely given by the miser. 

Kept by the prodigal alone ; 
As Vice deform'd, as Virtue fair, 

The courtier's loss, the patriot's gains ; 
The poet's purse, the coxcomb's care ; 

Guess— and you'll have me for your pains. 

NOTHING. 

64. 

FRENCH ENIGMA. 

Je suis le capitaine de vingt-six soldats, et sans moi Paris 
seroit pris. 

THE LETTER A. 



(SHXiilBiiDISSd 



1. 

My first is on the reindeer's head, 

My second is a measure, 
My total is a favourite dance 

That's always seen with pleasure. 

HORNPIPE. 

My first is irrational, my second is rational, my third is 
mechanical, and my whole is scientifical ? 

HORSEMANSHIP. 

3. 

Dear is my first when shadowy night is near ; 
But 'tis my second makes my first so dear ; 
My whole with decent care my first preserves, 
And thus to be my second well deserves. 

HOUSE-WIFE. 



My first marks time, my second spends it, and my whole 
tells it, 

WATCHMAN. 



im THE AMERICAN GIRL^S BOOK. 

5. 

My first is coarse and homely food, 
The cotter's fare, but still 'tis good ; 
My second you may quick define. 
The place in which we dance or dine ; 
My whole, when fresh and nicely cook'd, 
No epicure e'er overlook'd. 

MUSH-ROOM. 

7. 

My first I hope you are ; my second I see you are ; my 
whole I know you are. 

WELCOME. 



My first is in winter the warmth you desire ; 

My second is cold to the touch ; 
Both together are cold, yet appear all on fire. 

Which has puzzled philosophers much. 

GLOW-WORM. 



My first has its place by the side of a stream ; 

In accents of music my second's express'd : 
My whole has the miser's unbounded esteem, 

Though oft found relieving where he has oppressed, 

BANK-NOTE. 



THE AMERICAN GIRL^S BOOK. 183 

10. 

My first is a colour, my second is rough, 
My whole is a story you know well enough. 

BLUE BEARD. 

11. 

My first oft preys upon my second ; 
My whole a bitter shrub is reckoned. 

WORM-WOOD. 

12. 

My firsts the foe of rats and mice ; 

My next you'll meet with in a fair ; 
My third of various form and price. 

Oft decorates a lady's hair ; 
My whole, in foreign climes, is said 
To form a mansion for the dead. 

CAT-A-COMB. 

13. 

My first is possess'd of the wonderful art. 

Of painting the feelings that glow in the heart ; 

Yet had it not been for my second's kind aid. 

No respect had my first from a creature been paid ; 

The name of my w-hole you can surely reveal. 

When I tell you it's chiefly compos'd of bright steeL 

PEN-KNIFE, 



184 THE AMERICAN GIRyS BOOK. 

14. 

My first is productive of light ; 

My second to wood has affiance ; 
My whole is high polish' d and bright, 

And my first on its aid has reliance. 

CANDLE-STICK. 

16. 

My first is a pleasant regale, 

Which depends on my second's assistance j 
For which, if their efforts should fail, 

My whole may still keep in existence. 



FRUIT-TREE. 



16. 



My first is either bad or good, 

May please or may offend you ; 
My second in a thirsty mood, 

May very much befriend you. 
My whole, though term'd " a cruel word," 

May yet appear a kind one : 
It oflen may with joy be heard, 

With tears may often blind one. 

FARE-WELL. 

17. 

If my second you can, at request of a friend, 
Then let not my first be preferr'd ; 



THE AMERICAN GIRL'S BOOK. 185 

Well performed, (if it answers no permanent end^) 
It doubtless will make yoa my third. 

PLEA-SING. 

18. 

When night brings on her solemn hour ^ 
And silence reigns in awfal power, 
Then mortals to my first repair, 
And bid adieu to toil and care : 
My next's for various use design'd, 
Yet oft my first you there will find ; 
Within my whole you seek repose^ 
Forgetting life and all its woes. 

BED-CHAMBER. 

19. 

My first's a mean and humble bed, 

Where poverty reclines ; 
You'll find my next on bushes spread, 

When summer's sun-beam shines. 
My whole's a pleasant coohng fruit,. 
That fails not every taste to suit. 

STRAW-BERRY. 

20. 

My first in your face, has a prominent place 

My next in a smile you appear ; 
A bundle of sweets my whole will complete,. 

When Flora bedizens the year. 

NOSE-GAY. 



im THE AMERICAN GIRL^S BOOK, 

21. 

Behold my mighty first with thund'ring sound 
Hurls forth my second with destructive breath ; 

My whole makes legions press the bloody ground 
And close their eyes in darkest shades of death. 

CANNON-SHOT. 

22. 

My first is a term implying a firm 

When it follows a gentleman's name ; 
My next plainly tells of a female who dwells 

In seclusion where man never came ; 
Martial sounds from my third, redoubling are heardj 

When the demon of war has awoke ; 
But what am I doing, this trifle pursuing ? 

For really my whole's but a joke. 

CO-NUN-DRUM. 

23. 

My first upon your table oft, 

At breakfast time has been, 
And in your stable rais'd aloft, 

My second may be seen. 
My whole contains my first in rows, 
And you possess it, I suppose. 

TOAST-RACK. 

24. 

Ages ago, when Greece was young, 
And Homer, blind and wandering, sung, 



THE AMERICAN GIRL'S BOOK, 187 

Where'er he roam'd, through street or field, 
My first the noble bard upheld. 
Look to the new moon for my next, 
^ You'll see it there j but if perplex'd, 
Go ask the huntsman, he can show 
My name, he gives it many a blow. 
My whole as you will quickly see. 
Is a large town in Tuscany, 
Which ladies soon will recognize ; 
A favourite head-dress it suppUes. 

LEG-HORN. 

25. 

He who in a ditch doth roll 
Till he scrambles out, poor soul, 
Rich and clever though he be. 
Is my first most certainly. 
What good you can, if you are wise, 
You will my next ; — my third supplies 
A term to abstinence devoted ; — 
He who as my whole is noted, 
Well may dull and useless be 
May it ne'er be said of me. 

IN-DO-LENT. 

26. 

My first denotes equality — my second, inferiority — my 
third superiority. 

MATCH-LESS. 



188 THE AMERICAN GIRL'S BOOK. 

27. 

My first some men will often take 
Entirely for my second's sake ; 
But very few indeed there are 
Who both together well can bear. 

MIS-FORTUNE. 

28. 

My first is a toy ; my second is less than a name ; my 
whole is nothing at all. 

FANTOM. 

My first denotes my constant place^ 

My second's what Fm made of, 
My whole is useful in a room 

Where eating's made a trade of 

SmE-BOARD. 

30. 

My first's to object in a troublesome way ; 
When you come to my house, do my second, I pray; 
With nails, saws, and hammers, planes, gimlet, and glue> 
A noisy companion — my total you view. 

CARP-ENTER, 



31. 



My first proclaims my whole is near,. 
My second fills the soul with fear^^ 



THE AMERICAN GIRL^S BOOK. 189 

My whole mid woods and rocks is found^ 
And gives a fierce and deadly wound. 

RATTLE-SNAKE. 

32. 

Far from the noisy scenes of life, 

Its business and its fears, 
My first pursues his tranquil life, 

Through many a lengthen'd year. 

Respect and kindness both are due, 

And to my next are paid ; 
Its wisdom claims the one from you. 

Its weakness needs your aid. 

Remote from man, with ivy crown'd, 

On some sequester'd spot ; 
My whole in ages past was found, 

But now we use it not. 

HERMIT- AGE. 

33. 

In a fit of the tooth-ache my first to obtaii^, 
You'd not grudge a trifle, for sad is that pain ; 
If nothing you have, it might fairly be reckon'd 
A difficult task to discover my second. 
Would a man rove about from the line to the pole 
To seek a new home, if he were not my whole ; 

REST-LESS. 

34. 

My first is an animal scorn'd and abused, 
And often in labour and drudgery used, 



100 THE AMERICAN QIRVS BOOK. 

My next's like my first as one pea to another, 
Indeed he's related, if not his own brother. 
To make up the third 1 myself take my place ; 
And a rare motley crew for my fourth I will trace. 
Of soldiers and sailors, and coxcombs and sages, 
Both sexes, all trades, all conditions and ages. 
I leave to my readers to mention my whole, 
'Tis a crime causes horror to thrill thro' the souL 

ASS-ASS-I-NATION. 

35. 

Arise with my first when a journey you go, 
Use my last if your horse is too sluggish and slow ; 
In the prettiest gardens my wliole has a place 
From its beautiful colours, its lightness and grace, 

LARK-SPUR* 

The changing seasons, as they roll. 
Confess my powerful first's control ; 
Nature's unerring laws conspire 
To make my second call him sire : 

My whole's but one of seven ; 
A time when humble christians seek, 
With holy zeal and feelings meek, 

The path that leads to Heaven. 

SUN-DAY. 

37. 

My first is nimble, my second innumerable, and my whole 
fatal. 

aUICK-SAND. 



m I^ @ W @ IS 3^ 



A DINNER. 

1. A country in the Egist. 

TURKEY. 

2. A long-neck'd bird omitting the last letter, — and a 
small fruit. 

CRANBERRY. 

3. One of the sons of Noah. 

HAM. 

4. What no sailor wishes to meet with, — and an inhabi- 
tant of the water. 

ROCK-FISH. 

5. A small fowl — and what all children like. 

CHICKEN-PIE. 

6. Half of a room under ground — a vowel — and a grai% 
omitting the last letter* 

CELERY. 



102 THE AMERICAN GIRL'S BOOK. 

7. A cooking utensil — ^the first letter of the alphabet — and 
part of the foot. 

POTATOE. 

8. To strike, changing a letter. 

BEET. 

9. Half of a word that signifies a tower — and to pinch offt 

TURNIP. 

10. To be on an equality— and to cut short. 

PARSNIP. 

11. A machine to raise water — and a relation, 

PUMPKIN. 

12. A fruit — the half of a pool of dirty water- — and a cir- 
cle, changing the first letter. 

PLUM PUDDING. 

13. To chop fine — -and the last half of a talking bird. 

MINCE PIE. 

14. Swimming — and a country surrounded by water. 

FLOATING ISLAND. 

15. Half of a word signifying what is usual — and being 
late, omitting the last letter. 

GUSTARDw 



THE AMERICAN GIRL'S BOOK. 193 

16. What naughty children frequently are— and the best 
part of milk. 

WHIPT CREAM. 

17. A running plant, changing the first letter. 

WINE. 

18. The first syllable of a Persian Idng — and the first syl- 
lable of a town in England. 

CYDER. 

19. A harbour — and to mistake, omitting the last letter. 

PORTER. 



A TEA PARTY. 

20. A plant that grows only in China. 

TEA. 

21. Half of a receptacle for the dead — and a gratuity. 

COFFEE. 

22. Half of an Indian tribe — an interjection — and the re^ 
verse of early. 

CHOCOLATE. 

23. The produce of a plant that grows only in warm cli- 
mates. 

SUGAR. 

13 



194 THE AMERICAN GIRL'S BOOK. 

24. The oily part of a well-known liquid. 

CRHAM. 

25. A fur covering for the hands— and the reverse of out.. 

MUFFIN. 

26. To blow away, omitting the last letter— -and the final 
half of a frill. 

AVAFFLE. 

27. A confused mixture. 

JUMBLE. 

28. A king's wife — and a confection. 

aUEEN CAKE. 

29. A familiar name for the squirrel. 

BUN. 

30. The national dish of the Italians, putting in one vowel,, 
and omitting another. 

MACCAROON. 

31. The reverse of sour-— and what few dinners are with- 
out. 

SWEETMEATS. 



FRUIT. 

32. The sea-shore, changing the first letter.. 

PEACH. 



THE AMERICAN GIRL'S BOOK. 196 

33. A bank to confine water — and what every man must 
be. 

DAMSON. 

34. A colour — and a pledge. 

GREEN GAGE. 

35. A month, omitting the last letter — and a shepherd's 
house. 

APRICOT. 

36. An interjection — and to rove. 

ORANGE. 

37. Half of a Grecian Island — and the reverse of off. 

LEMON. 

38. A tree that grows best in a sandy soil — and a well- 
known fruit. 

PINE- APPLE. 

39. Affected goodness — and to run away secretly. 

CANTELOPE* 

40. A domestic fowl — and a small fruit. 

GOOSEBERRY. 

41. A useless dog — and to bluster. 

CURRANT. 



196 THE AMERICAN GIRL'S BOOK, 



FLOWERS. 

42. The first part of the day — and high honour. 

MORNING GLORY. 

43. The close of day — to be very formal — and the queen 
of flowers. 

EVENING PRIMROSE. 

44. The two first letters of a day of the week — and a 
part of the face. 

TULIP. 

45. To start up suddenly — and a crust baked with some- 
thing in it, omitting the last letter. 

POPPY. 

48. An ever-green — and a sort of German wine. 

HOLLYHOCK. 

47. Half of a female christian name — and a little instru- 
ment for securing your clothes. 

LUPIN. 

48. Every day, changing a letter. 

DAISY. 

49. Forcible or vehement, omitting a letter. 

VIOLET. 

50. An open carriage — and a community of people. 

CARN.iTlON. 



THE AMERICAN GIRL'S BOOK. 197 

51. A christian name, changing the last letter — and a 
place that produces metals. 

JESSAMINE. 

52. A lady well-known in pantomimes. 

COLUMBINE. 

53. A very common female name — and a metal. 

MARYGOLD. 



HERBS. 

54. A small coin — and whatever belongs to a king. 

PENNYROYAL. 

55. Half of a word signifying to bestow profusely — a ter- 
mination — and the first syllable of a message. 

LAVENDER. 

56. A fragrant flower — and a woman's name. 

ROSEMARY. 

57. A spice — and the place in which money is coined. 

PEPPERMINT. 

58. To be wise. 

SAGE. 

59. The measure of duration, adding one letter, and 
changing another. 

THYME. 



198 THE AMERICAN GIRL'S BOOK. 

60. A season — and to taste agreeably. 

SUMMER SAVORY. 

61. To be pleasant — ^to spoil — and an old-fashioned word 
for a jug of liquor. 

SWEET MARJORAM, 



THE UNITED STATES. 

62. A poetical term for the ocean — and a vowel. 

MAINE. 

63. The common word for fresh, or m.odern — and a coun- 
ty in the south of England. 

NEW-HAMPSHIRE. 

64. A word derived from the French, and signifying a 
green mountain. 

VERMONT. 

65. A term much used by the southern slaves — to make 
a choice — and three consonants. 

MASSACHUSETTS. 

66. A Grecian island, omitting a letter — and a place 
surrounded with water. 

RHODE-ISLAND. 



THE AMERICAN GIRL^S BOOK. 199 

'67. To join — myself — and to divide. 

CONNECTICUT. ' 

68. Something recent — and an old city in the north of 
England. 

NEW-YORK. 

69. Something fresh— and an English island on the 
- coast of France. 

/ NEW-JERSEY. 

70. The name of a worthy and distinguished Q^uaker- — 
and a word derived from the Latin, and signifying wood-land. 

PENNSYLVANIA. 

71. Two words that frequently precede French names — 
and a term for articles of merchandize. 

DELAWARE. 

72. The name of an English queen — and a country, 

MARYLAND. 

73. A maiden — and two vowels. 

VIRGINIA. 

74. A point of the compass — and a female name. 

NORTH-CAROLINA. 

75. Another point of the compass — and the same female 
-name. 

SOUTH-CAROLINA. 



^0» THE AMERICAN GIRL'S BOOK. 

76. A name that has belonged to four English kings, 
changing one letter, and adding another. 

GEOKGIA. 

77. The name of many kings of France — a vowel- — and 
a female name omitting a letter, 

LOUISIANA. 

78. The first syllable of a man's name — the first letter of 
the alphabet — a sweet herb, omitting a letter — and a vowel. 

ALABAMA. 

97. A number — three fourths of a bird's dwelling — and 
to look. 

TENNESSEE. 

80. A common Scotch word, signifying to know — to in- 
close — and the letter which is both a consonant and a vowel. 

KENTUCKY. 

81. An interjection — half a word, signifying lofty — -and 
the same interjection repeated. 

OHIO. 

82. A savage — and a vowel. 

INDIANA. 

83. To be sick — a vowel — and a sound, omitting the last 
letter. 

ILLINOIS. 

84. A young lady — part of a verb — to taste slightly — ■ 
and half of a word signifying religious. 

MISSISSIPPI. 



THE AMERICAN GIRL^S BOC_ . SOi 

85. A young lady — and a Mahometan angel, omitting 
the first letter. 

MISSOURI. 



AMERICAN RIVERS. 

86. To be lively, changing the last letter— and the begin- 
ing of many Scottish names, adding a letter. 

MERRIMACK. 

87. An inst:Timent of the greatest importance in making 
a book — the first syllable of a tall and pointed monument of 
stone — and a native of North Britain. 

PENOBSCOT. 

88. Half of a word signifying to crowd together — and 
the first syllable of a small poem. 

HUDSON. 

89. The two first syllables of curiosity — ^and to turn a 
skin into leather. 

RARITAN. 

93. The first syllable of uncertainty — ^three-fifths of a 
female sovereign — and an old-fashioned name for a woman, 
omitting the last letter. 

SUSQUEHANNA. 

91. Two syllables of the berry from wliich gin is made — 
the first syllable of a collection of maps — and a vowel. 

JUNIATA. 



202 THE AMERICAN GIRL'S BOOK, 

92. The first syllable of a large troop of soldiers — and the 
common word for elevated or exalted. 

LEHIGH. 

93. The first syllable of a word that signifies but one syl- 
lable—a word meaning upon — to be lively, omitting the last 
letter— a pronoun — and the half of a genteel woman, 

MONONGAHELA. 

94. The first syllable of a well-known nut — a vowel — 
and a sharp point, adding a vowel. 

CHESAPEAKE. 

95. The abbreviation of a common Irish name — begin- 
ning of many Welsh names — and to rebuke violently, omitting 
the two last letters. 

PATAPSCO. 

96. A river in Italy — coarse flax — and the first syllable 
of a small and delicious cake. 

POTOWMAC. 

97. A speckled horse — and the monarch of forest-trees, 
transposing a consonant and changing a vowel. 

ROANOKE. 

98. The dwelling of Noah during the flood — a very little 
word — and a carpenter's tool. 

ARKANSAW. 

99. An abbreviation of a man's name — u common word, 
meaning large — and a useful insect. 

TOMBIGBEE, 



THE AMERICAN GIRL'S BOOK. 2Q3 

100. 

A VERY GOOD REBUS. 

A word if you find, that will silence proclaim, 
Which spelt backward or forward will still be the same ; 
And next you must septrch for a feminine name, 
That spelt, backward or forward, will still be same ; 
And then for an act or a writing, whose name 
Spelt backward or forward will still be the same ; 
A fruit that is rare, whose botanical name, 
Spelt backward or forward is ever the same j 
A note used in music, that time will proclaim, 
And backward or foi vv-ard alike is its name ; 
The initials connected a title will frame. 
Which is justly the due of the fair married dame, 
And which backward or forv*"cird will still be the same. 

MADAM. 

The words that furnish the initial letters are^ 3iu:^i, — 
ANNA, — DEED, — ANANA, {the pineapple^) and minim. 



(g©srwsr®®wsas9 



1. Why is a bonnet with a faded ribbon like a lamp 
burning dimly ? 

It wants new trimming. 

2. Why are great singers like cheese-curd? 

They require hard pressing. 

3. Why is a lawyer like a poker ? 

He is often at the bar. 

4. Why is a book like a king ? 

It has many pages. 

5. Why is being in prison like an ink-spot ? 

It is hard to get out. 

6. Why is going out at the front door in sleety weather, 
like learning to dance ? 

You must mind the steps. 

7. Why is a book like a tree 1 

It is full of leaves. 



THE AMERICAN GIRL^S BOOK. 205 

8. What is often on the table, often cut, but never eaten ? 

A pack of cards. 

9. Why are ft*iends, separating for a short time, hke a 
pair of scissars ? 

They part to meet again. 

10. Why is a looking-glass unlike a giddy girl ? 

The one reflects without speaking, the other 
speaks without reflecting. 

11. Why is a counterfeit note like a bar of iron ? 

It is forged. 

12. Why is a proud woman like a music-book "l 

She is full of airs. 

13. Why is a man that squints, like a needle that carmot 
be threaded. 

The eye is defective. 

14. Why is coffee like an axe with a dull edge ? 

It must be ground before it is used. 

15. Why is an expiring candle like a child preparing for 
a Wcxlk ? 

It is going out. 

16. Why is a handsome book like an indented servant 7 

It is bound. 

17. Why is a slaughtered ox like an ell of cloth ? 

It is divided into five ouarters. 



206 THE AMERICAN GIRL^S BOOK. 

18. Why is a pair of skates like an apple ? 

They have occasioned the fall of man.. 

19. Why is a nobleman like a book ? 

He has a title. 

20. Why is a doctor's prescription a good thing to feed 
pigs with I 

There are grains in it. 

21. Why is a fooPs mouth like a tavern-door? 

It is always open. 

22. Why is a silk hat like a counterfeit passion ? 

It is not felt. 

23. Why is a nail like a stage-horse ? 

It is hard driven. 

24. Why is the British Navy hke a printing-office ? 

It is supported by the press. 

25. Why is the lettei- P like Lisbon ? 

It is the capital of Portugal. 

26. Why is a hospital like a key ? 

There are wards in it. 

27. Why is a madman like two men ? 

He is a man beside himself. 

28. Why are two giggling girls Hke chickens' wings ? 

They have a merry-thought between them. 



THE AMERICAN GIRL'S BOOK. 207 

29. Why is a button-hole hke a cloudy sky 1 

It is overcast. 

30. Why is a woman churning, hke a caterj^illar 'I: 

She makes the butter fly. 

31. Why is education hke a tailor ? 

It forms our habits. 

32. Which is the oldest tree in America ? 

The elder tree. 

33. Why, when you go to bed, is your slipper hke an 
unsuccessful dun ? 

It is put off till next day. 

34. Why is a segar-smoker like an author ? 

He is fond of a puff. 

35. Why is a judge like a person reading aloud 1 

He pronounces sentences. 

36. Why is a fool like a very large cask ? 

He is a butt. 

37. Why is a new book like a man that has got through 
a crowd? 

It is just out of the press. 

38.. What trade is the name of one of the best English 
authors ? 

Groldsmith. 

39. Why is a fan hke a peace-maker ? 
It allays heat. 



208 THE AMERICAN GIRL'S BOOK. 

40. Why is a reverse of fortune like cleaning fish 7 

The scales are turned. 

41. "Why is an architect like a great actor? 

He draws hoases. 

42. Why is a gun like a jury ? 

It is charged and dischat-ged. 

43. Why is a bushel like a well-digested plan 1 

It is a solid measure. 

44. What trade never turns to the left ? 

Wheelwright. 

45. Why is an inferior fur hat like a severe rebuke ? 

It is felt. 

46. Why is a hypocrite like an artist engaged in an 
original drawing ? 

He is designing. 

47. Why is a drawn tooth like something forgotten ? 

It is out of your head. 

48. Why is a bad epigram like a blunt needle ? 

It has no point. 

49. Why is an egg over-done, like one under-done ? 

Both are badly done. 
60. Why are handsome women like muffins ? 

They are often toasted. 
51. Whether were knees or elbows made first ? 

Knees j because beasts were formed before man* 



THE AMERICAN GIRL^S BOOK. 209 

52. Why is a ^hool-boy just beginning to read, like 
knowledge itself? 

He is learning. 

53. What is that which increases the effect by diminish- 
ing the cause ? 

A pair of snuffers. 

54. What is that which, though invisible, is always in 
sight 1 

The letter !. % 

55. "V^^y is the letter D like a sailor ? 

It follows the C — (sea), 

56. What does a stone become when thrown into the 
water ? 

A wet stone — (whetstone), 

57. Why is opening a letter like a strange way of 
getting into a room ? 

It is breaking through the sealing — (celling). 

58. Why is a cross old bachelor hke a poem on mar- 
riage? 

He is averse to matrimony — (a verse), 

59. Why were Algiers and Malta as opposite as light 
and darkness ? 

One was governed by deys^ the other by knights ^ 
(days, — nights) . 

60. If you throw up a ripe pumpkin what will it come 
^own? 

A squash.. 

14 



210 THE AMERICAN GIRKS BOOK.^ 

61. Why is a traveller sailing up the Tigris, like a man 
going to put his father into a sack ? 

He is going to Bagdad — {Bag dad.) 

62. Why is a side-saddle like a four-quart measure ? 

It will hold a gall-on — {gal^ meaning girl), 

63. Why is a pastry-cook like an apothecary ? 

He sells pies and things — {poison things}. 

64. Why is a coiner of bad money like a line in Othello ? 

Who steals his purse, steals trash. 

65. Why is a pig with his tail curled, like the ghost in 
Hamlet? 

He could a tale unfold — {tail). 

66. Why is a man marrying a coquette, like a passage 
in the Midsummer- Night's Dream ? 

" He gives to airy nothing, 

A local habitation and a name." 

67. What was yesterday, and will be to-morrow ? 

To-day. 

68. On which side of the church does the yew-tree grow ? 

On the outside. 

69. What is that which we often see made, but never see 
after it is done 1 

A bow. 

70. Why is a poet like a toy ? 

He is devoted to a muse, and delights in 
fancy — ( amuse — infancy) . 



THE AMERICAN GIRL'S BOOK. 211 

71. How can a person live eight years and see but two 
birth-days ? 

By being born in Leap Year, on the 29th of February. 

72. Why is taking care of children like w^earing spec- 
tacles ? 

You must keep them before your eyes. 

73. If the alphabet were invited to a party, which of 
them Avould come after tea ? — ( T). 

U V W X Y and Z. 

74. What makes more noise than a pig under a gate ? 

Two pigs imder a gate. 

75. Why is a nail driven tight into a wall, like a weak 
old man ? 

It is in firm — {infirm). 

76. Why is a convict just gone to Botany Bay, like one 
just returned from it 1 

He is transported. 

77. What is majesty w^hen divested of its externals 1 

A jest. 

78. Why is a prison like a pack of cards ? 

There are knaves in it. 

79. Why is an old man like a ^\indow ? 

He is full of pains — {panes), 

80. Why is the letter S hke dinner 1 

It comes before T — {tea)-. 



91g THE AMERICAN GIRL^S BOOK. 

81. Why is an andiron like a yard stick I 

It has three feet. 

82. What is the difference between a good governess an(l 
a bad one T 

A good one guides mass, and a bad one mis-guides. 

83. What is the difference between twice five and twen- 
ty and twice twenty-five ? 

Twenty. 

84. Why is a man of an inconstant disposition like a lock 
and key that fit exactly 1 

He is easily turned. 

85. Why is a man suspended in the letter D, what all 
men wish to be ? 

He is in-d-pendent. 

86. Why do white sheep produce more wool than black 
ones? 

There are more of them. 

87. Why does a miller wear a. white hat 1 

To keep his head warm. 

88. How many hoops does a good barrel want ? 

No hoops. 

89. Where was Washington when he blew out the can- 
dle? 

In the dark. 

^. Why do yo^ go to-bed ? 

Because the bed will not come to you. 



THE AMERICAN GIRL'S BOOK. 213 

91. Why do we look over a stone wall ? 

We cannot look through it. 

92. Which has most legs, a horse or no horse ? 

No horse has five legs. 

93. What is most like a cat looking out of a window ? 

A cat looking in at a window. 

94. Which is the left side of a plum-pudding ? 

That wliich is not eaten. 

95. What sect will a man belong to if he wears thin 
clothes in winter ? 

The Shakers. 

96. On what tree can you ride from Philadelphia to Pitts- 
burgh ? 

The axle-tree. 

97. In what place did the cock crow when every body in 

the world heard him ? 

In Noah's ark. 

98. Why is a jew Hke the toll -man at a bridge ? 

He keeps the pass-over. 

99. What word is there of Eve letters that by taking 
away tAvo leaves but one ? 

Stone. 

100. What does a man first fall against when he falls out 
of a three-story window ? 

Against his will 



214 AMERICAN GIRL'S BOOK. 

101. What is that which is lengthened by being cut at 
both ends ? 

A ditch. 

102. Why is a schoolmaster whipping a boy for telling a 
falsehood, like the god Apollo ? 

He strikes a liar — (lyre). 

103. Why is Congress like the Theatre ? 

It is a House of Representatives. 

104. What is that word containing eight letters of which 
^ve are the same 7 

Oroonoko. 

105. What is that which no one wishes to have and no 
one wishes to lose ? 

A bald head. 

106. Why is a bad clergyman like a finger-post ? 

He points the way he never treads. 

107. Why is a coachman lijke the clouds ? 

He holds the reins — (rains), 

108. Why is Athens like a candle-wick ? 

It is in the midst of Greece — (grease.) 

109. Where did Noah strike the first nail in the ark ? 

On the head. 
no. Why is a drop of blood like a Waverley novel? 

It is always red — (read). 
111. What three American coins will make a dollar ? 

Half a dollar and two quarters,. 



THE AMERICAN GIRL^S BOOK. 215 

112. If you were up stairs when the house was on fire, 
and the stairs were away, how would you get down them ? 

If the stairs were not a way, you could not get down them. 

113. What is that which Bonaparte never saw, but which 
a common man sees every day ? 

His equal. 

114. If a bird was sitting on a peach in the orchard, and 
you wanted that peach, how would you procure it without 
disturbing the bird ? 

By waiting till the bird had flown. 

115. If you see three pigeons on a roost, and shoot two, 
how many will remain ? 

None — as the third w^ll fly away. 

116. What word is that which contains all the vowels, 
and all in their proper order 7 

Facetiously. 

117. Why is taking snufl'like a ragged riding-dr^s ? 

It is a bad habit, 

118. Why is a hat too large for your head, like an old 
house in an earthquake ? 

It will fall about your ears. 

119. Why is a cushion stufied with moss hke a bottle of 
ale left uncorked ? 

It soon becomes flat. 

120. Why are corsets hke Opposition Lines in travelhng ? 

They reduce the fare — {fair). 



216 . THE AMERICAN GIRL'S BOOK. 

121. Why is a family of ugly daughters like guns with 
bad locks ? 

They do not go off well. 

122. Why is a lady quitting the arm of an artist like a 
boat pushing off from the side of a ship ? 

She lets go the painter. 

123. Why is a new-married man like a steam-boat ? 

The baggage is at the risk of the owner. 

124. Why is a smelling-bottle left uneorked like a hound 
when he comes to a river ? 

It loses the scent, 

125. Why is a liquor merchant like a man of perpetual 
vivacity 1 

He is never out of spirits. 

126. Why is a consistent man like a military coat ? 

He is is uniform. 

127. When is a dog's tail not a dog's tail ? 

When it is a waggon — {wagging), 

128. What is that which unites two and only touches 



one 



? 



The wedding ring. 



129. What people can never lie down long, nor wear a 
great coat ? 

Dwarfs. 

130. Why are teeth like verbs ? 

They are regular and irregular. 



THE AMERICAN GIRL'S BOCK. 217 

131. Why k a well-traiiied horse hke a benevolent man ? 

He stops at the sound of wo. 

132. Why is the river Belav^rare like a fashionable great 
■coat? 

It has two capes. 

133. Why is sin hke a picture frame 7 

It is guilt — (gilt). 

134. Why is a married man like a student of medicine ? 

He must Hsten to lectures. 

135. Why is a poet addressing an ode to a yomig swan, 
like a Scotch lawyer 1 

He is a writer to the signet — {cygnet). 

136. What name of an Enghsh poet reminds yoa of the 
pleurisy 1 

Akenside. 

137. Why are a fisherman and a shepherd lil^e beggars 1 

They hve by hook and by crook. 

138. What wine is mock agony 1 

Champagne — {sham-pain. ) 

139. What check to ambition is there in the meaning of 
a church weathercock 1 

It is vane to a spire — {vain to aspire). 

140. Why is a very angry man like a clock at fifly-nine 
minutes past twelve 1 

He is ready to strike one. 



•218 THE AMERICAN GIRL'S BOOK. 

141. What is higher and handsomer when the head is off? 

A pillow. 

142. If a pair of spectacles could speak to the eyes, the 
name of what Greek author would they utter 1 

Eusebius — (yoit see by us). 

143. Why is a thread-bare coat like a person too soon 
awakened ? 

Both have lost their nap. 

144. There has been but one king crowned in England 
since the Norman Conquest. What king was he ? 

James the First. He was king of Scotland, 
before he was king of England. 

145. Two letters of the alphabet are such good friends, 
that one never stirs from home without having the other to 
follow it. What are those two letters ? 

(i and U. Nothing can be spelt ^ with 
Q, only, unless it is followed by U. 

146. Why is a schoolmaster like the letter C ? 

He forms lasses into classes. 

147. What difference is there between live fish and fish 
alive 7 

There is a difference. (Because there is 
a in fish alive, and not in live fish.) 

148. W^hy is Philadelphia like a chequer board ? 

It is laid out in squares. 

149. Why is a nobleman's seal hke a soldier? 

It bears arms* 



THE AMERICAN GIRL'S BOOK. 219 

150. What is smaller than a mite's mouth 7 

What goes into a mite's mouth. 

151. Why is the letter G hke the sun ? 

It is the centre of light. 

152. What question is that which can only be answered 
by the word " yes ?" 

What does Y, E, S, spell 7 

153. What belongs to yourself, yet is used by every body 
more than yourself? 

Your name. 

154. Why is a musician l^ke a jailor 7 

He fingers the keys. 

155. When does a barber treat certain letters of the 
alphabet with severity 7 

When he ties up queues (Q's,) and put& 
toupees {t\\:o P'^s) in irons. 

156. Why is a beggar like a baker 7 

They both need bread — (knead). 

157. What is that which every living man has seen, but 
never more will see again 7 

Yesterday. 

158. Why is a fender like Westminster Abbey 7 

It contains the ashes of the grate — {great.) 

159. Why is a peach-stone hke a regiment 7 

It has always a kernel — (colonel.) 



220 THE AMERICAN GIRL^S BOOK. 

160. Why is an amiable and charming girl like one letter 
in deep thought ; another on its way towards you ; ano- 
ther bearing a torch ; and another singing psalms 7 

A-musing, B-coming, D-lighting, IN'-chanting. 

161. What is that which is disgusting to all but those 
Who swallow it ? 

Flattery. 

162. What burns to keep a secret 7 

Sealing-wax. 

163. Why is the king of England like a vane on a 
steeple ? 

He is the head of the church, 

164. Why are the teeth of an old woman like the visits 
of persons who dislike each other ? 

They are few and far between. 

165. Why is a gardener seUing sweet herbs like a man 
reading instructive books ? 

He makes a profitable use of his thyme — (time). 

166. There is a sort of snuff which the more you take 
of it, the fuller the box will be. What snuff is it ? 

Candle-snuff- 

167. What is that which occurs once in a minute, twice 
in a moment, and not once in a thousand years 7 

The letter M. 

168. Why is an active waiter like a race-horse ? 

He runs for the plate* 



THE AMERICAN GIRL'S BOOK. 22^1 

169. Why is a drunken man Kke a wind-mill ? 

His head turns; round. 

170. Why is a student of theology like a merchant T 

He studies the prophets — (profits). 

171. Why is the soul a trifle ? 

It is immaterial. 

172. Why is a traveller landing from a steamboat at 
midnight like an Englishman at a French tavern ? 

He can get no porter. 

173. Why is a hat like a king T 

it has a crown. 

174. Why is a man who has nothing to boast of but hi» 
ancestors, like a potato ? 

The best thing belonging to him is under ground. 

175. Why are dancers like mushrooms ? 

They spring up at night. 

176. Why is a disgraced minister like a melted guinea T 

He has lost the kingls countenance. 

177. Why is a deceived woman like a little girl in lead- 
ing strings T 

She is miss led — (misled.) 

178. Why are the poker, tongs and shovel like titles of 
nobility ? 

They belong to the grate — {great). 

179. What makes shoes T 

Straps 5^ as without them shoes would be slippers. 



222 THE AMERICAN GIRL'S BOOK. 

180. If a little thin man were to dress himself in a tall 
fat man's clothes, what two cities in France would he resem- 
ble ? 

Toulon and Toulouse — {too long and too loose). 

181. What is that which is the centre of joy, and the 
principal mover of sorrow 1 

The letter O. 

182. Why is the letter K hke meal 1 

You cannot make cake without it. 

183. Why is a drunkard like a man beating his wife 1 

He is given to liquor — {lick her). 

184. Why is a dancing master like a tree 1 

He is fall of bows — {houghs). 

185. How can great K, little K, and K in a merry moodj 
make two islands and a continent 1 

They are Majorca, Minorca, and America. 

186. Why is a bad piano-player like a bustling housekeeper t 

She rattles the keys. 

lB7i Why is Gibraltar like a dose of medicme 1 
It is hard to take. 

188. Why was the celebrated Mrs* Montague like a first 
rate watch ?^ 

She was always capp'd and jewelPd. 

* This distingiiisoed old lady was never seen without her diamonds. 



THE AMERICAN GIRL'S BOOK. 223 

189. Why is death hke the letter E 1 

It is the end of life. 

190. Why is a lawyer like an honest man? 

He is man of deeds as well as words. 

191. Why is a woman of no attractions, like a plain 
quaker bonnet 1 

She is always without a beau — {how). 

192. Why are apothecaries' shops like the gates of death 1 

They are always open. 

193. Why are clergymen like cobblers 1 

They seek the good of souls — (soals). 

194. In what does a tailor resemble a woodcock 7 

In the length of his bill. 

195. From whence proceeds the eloquence of an Ameri- 
can lawyer? 

From his moutli. 

196. Why are geese like Opera dancers ? 

No other animals can stand so long on one leg. 

197. What are the things that the more you add to them 
the fewer there will be in a pound 7 

Candles. 

198. If I kiss you and you kiss me, what sort of riddle do 
we make 7 

A rebus — (re-buss). 



224 THE AMERICAN GIRL'S BOOK. 

199. Why ought ladies to be prevented from learning^ 
French 7 

One tongue is sufficient for a woman.. 

200. Why is the letter P hke uncle's fat wife going up 
a hill? 

it makes ant pant — {aunt). 

201. What servant is it, that sits with his hat on before 
his master? 

The coachman. 

202. Why is a farmer surprized at the letter G ? 

It will convert oats into goats. 

20B. Where did La Fayette go when he went out of his 
fourteenth year 7 

Into his fifteenth. 

204. Whose best works are most trampled on 7 

A shoe-maker's; because good shoes last 
longer than bad ones. 

205. When is a man over head and ears in debt T 

When he has not paid for his wig. 

206. Why is Ireland likely to grow rich ? 

It's capital is always Dublin — {doubling.) 

207. What is it that every one thinks of in telling a 
conundrum, and every one thinlvs of in hearing it I 

The answer.. 



iisawsasr© wosia® 



THE AMERICAN GIRL'S BOOK 



227 



PINCUSHIONS. 




A BRICK PINCUSHION. 



These pincushioDs are extremely useful wher^ it is 
necessary to pin down your work to keep it steady ; 
for instance, in quilling rafHeSj cov^ering cord, sewing 
long seams, hemming or tucking. Being so heavy 
that they can only be lifted w4t hboth hands, they sit 
jfirmly on the table, and cannot be overset by accident. 
Screw pincushions, it is true, answer the same purpose ; 
but it is difficult to fasten them to a circular table, or 
to any table that has not a very projecting edge ; and 



428 THE AMERICAN GIRL'S BOOK. 

the screws frequently wear so smooth as to become 
useless. A brick pincushioUj when once made, will 
last to an indefinite period (occasionally renewing the 
cover), and can be used on any table, in a window 
iedge, or even on a chair or stool. In a chamber^ 
they can be employed on the toilet like any other 
pincushion. 

Get a clean new brick of a perfect shape, and cut 
out a piece of coarse linen or strong domestic cotton, of 
sufficient size to cover it ; allowing enough to turn in. 
Lay the brick in the middle of the hnen, which must 
then be folded in at the corners and sewed tightly 
with coarse thread all over the brick ; making the 
covering as smooth and even as possible. Then cut 
out a bag of coarse linen, and fit it to the top of the 
brick, allowing it, however, about two inches larger 
each way ; or more, if you intend it to rise very high 
in the middle. Stuff the bag with bran, till you get 
it as firm and hard as possible. It will require at 
least two quarts of bran, perhaps more. While doing 
this, you had better have the whole apparatus on a 
large waiter to catch what falls. Put in the bran 
with a spoon, and press it down hard with your fin- 



THE AMERICAN GIRL'S BOOK. 229 

gers. When the bag is completely stuffed, and can- 
not possibly hold any more, sew up the open end. 
Fit the bag evenly all round to the top of the brick, 
and sew it fast to the linen cover ; taking care to have 
it of a good shape, sloping down gradually on all 
sides from the middle. 

Sew a piece of thick baize cloth to the linen on the 
bottom of the brick, and then put on the last cover of 
the w^hole pincushion. This outside cover may be of 
velvet, silk or cloth. Fold it under at the corners 
very neatly, and sew it all round to meet the baize at 
the bottom. Then cover the seam with a binding of 
narrow ribbon or galloon. If you choose, you can 
make the cover for the top (or stuffed part of the pin- 
cushion) of a separate piece of silk, always taking 
care to cover the seam with a binding, 

A small pincushion may be made in the same man- 
ner, only using for the foundation a little flat block of 
w^ood, instead of a brick. 



230 THE AMERICAN GIRL'S BOOK. 




FLANNEL PINCUSHIONS. 

Take very long slips of old flannelj cat quite 
straight and even. For a fiat pincushion, the flannel 
must be little more than an inch broad ; for a tall one 
four inches. Roll up the flannel as tightly as possible 
(as they roll galloon in the shops) and sew down the 
last end so as to secure it. Measure as much ribbon 
or silk as will go round the flannel, and sew it on. 
Then cut out circular pieces of silk and sew them on 
to cover the top and bottoin of the pincushion. These 
pincushions are more easily made than any others, and 
are very convenient to keep in your work-basket or 
reticule. 



THE AMERICAN GIRL^S BOOK. 



231 




A HEART PINCUSHION. 



Cut two pieces of lineD into the shape of a half- 
handkerchief. Sew them together, leaving a small 
open space at the top, and stuff them very hard with 
bran or wool. When sufficiently stuffed, sew up the 
opening and cover the pincushion with silk, sewed ve- 
ry neatly over the edge. Then make the two upper 
corners meet, and fasten them well together. This 
will bring the pincushion into the shape of a heart. 
Put a string to the top. Emery bags are frequently 
made in this manner. Pincushions should always be 
stuffed with bran, wool or flannel. Cotton will not do. 



2^S THE AMERICAN GIRL'S BOOK. 




A PINCUSHION IN GORES. 

Take some thick new silk, and cut out twelve or 
fourteen pieces in the shape of gores or long triangles. 
Half of these are for the upper and half for the under 
side of the pincushion. Sew them all together on the 
wrong side, and then sew the top to the bottom, leav- 
ing an opening for the stuffing. Stuff it hard with 
bran. Then sew up the opening. The points of the 
gores must all meet in the centre, the broad ends go- 
ing to the outward edge, on which, at the end of ev- 
ery seam, you must put a little tassel or bow, and also 
one in the centre. The tassel may be made of tufts 
of ravelled silk. These pincushions are generally for 
the toilet, and are made large. 



THE AMERICAN GIRL'S BOOK. 



233 




A CORDED PINCUSHION. 



Cut out two roimcl pieces of linen. Sew them to- 
gether, and stufi' them wnth bran, so as to form a 
round ball. • Begin on the very centre of each side, 
and with a large needle lay coarse thread or cotton all 
across dovN^n to the middle of the pincushion where 
the binding is to come. These threads must spread 
out from the centre in every direction like rays : the 
space between tliem widening of course as it descends. 
Make them very even, and do not allow them to be 
loose or slack. Then take a needle threaded with 
sewing silk or fine crew^el, and, beginning at the cen- 



S34 THE AMERICAN GIRL'S BOOK. 

tre from which all the coarse cotton threads diverge^ 
(they may be called cords) work the pincushion all 
rouiid by passing the needle twice under each cord, 
taking the stitches very close, even, and regular, and 
completely covering with the sewing silk both the 
cords and the space betvv^een them. The stitches, of 
course, become gradually longer as you go down to* 
wards the seam that divides the two sides of the pin- 
cushion. Supposing that you begin with pink silk, 
you may, after a few rounds, take another colour, for 
instance green, then yellow, then blue, and then 
brown. In this manner your pincushion will be 
handsomely striped, and the cords will give it a very 
pretty appearance, if evenly laid and well-covered. 
When both sides are finished, cover the seam with a 
binding of dark-coloured ribbon, and put on a string 
and bow of the same. Always begin and fasten off 
in a place that is afterwards to be worked over. 



THE AMERICAN GIRL'S BOOK. 235 




A STRAWBERRY. 

This pincushicii is made of a piece of coarse linen, 
about half a quarter square, cut into two triangular 
or three-cornered halves, stuffed with bran and cover- 
ed with scarlet cloth ; which cover must be sewed 
neatly on the v/rong side, and then turned. The top 
or broad part must be gathered so as to meet all round, 
and concealed by sewing on a smalt round piece of 
green velvet, scolloped in imitation of the cap of green 
leaves that surround the stem where it joins the 
strawberry. The stem must be imitated by sewing: 
on a small green silk cord. To represent the seeds, 
the strawberry must be dotted over with small stitches, 
made at regular distances with a needle-full of yel- 



236 THE AMERICAN GIRL'S BOOK. 

low silk, and close to each yellow stitch must be a 
stitch of black. 

Emery bags are often niade in this manner, but 
of course much smaller ; not exceeding the size of a 
large real strawberry. 




A BASKET PINCUSHION. 

Get a ver;f small round basket, with or without a 
handle. It must be closely woven, so that nothing 
can be seen through its sides. Make of coarse linen 
stuffed with wool or bran, a round pincushion exactly 
to fit the basket. Cov^^er the top of it with velvet or 
silk, and put it into the basket, sewing it firmly to the 
inside of the rim. This is for a toilet-table. 



THE AMERICAN GIRL'S BOOK. 



237 




A BUNCH OF HEARTS. 



Cut out ten or twelve small hearts of double paste- 
board ; that is, two pieces of pasteboard for each heart. 
Cover them with different shades of red silk, crimson, 
scarlet, and pink, sewing them very neatly at the 
edges. Sew a string of narrow ribbon to the top of 
each, and tie the ends of all the strings together. 
Stick pins round the edge of each pincushion where 
the two sides unite. These bunches of hearts look 
very pretty when hung on a toilet-glass. 



2a8 



THE AMERICAN GIRL'S BOOK. 




A BUNCH OF ROOTS. 



This is a toilet pincushion. Cut out of coarse 
linen or muslin, eight or ten pincushions of the shape 
that is called a right-angled triangle, or a half hand- 
kerchief ; stud' them with wool or bran and then 
sew up the ends. Cover them with silk. Fasten 
them all together at the top by the upper point or 
corner of each^ and put a large bow of ribbon at the 
centre where they meet. 

When stood on the table, these pincushions will 
spread out all romid, resting on their broad paits.. 



THE AMERICAN GIRL'S BOOK. 



239 




A STAR PINCUSHION. 

Cat out two stars of paste-board. Cover them 
with yellow silk, or any other colour that is conve- 
nient. Sew them neatly together over the edge, and 
round the edge stick small pins. Some of the pins 
must be inserted deeper or farther down than others, 
so as to resemble rays issuing from each point of the 
star. The pincushions are to hang up beside a toilet 



240 THE AMERICAN GIRL'S BOOK. 

glass, and are more for ornament than use ; as taking 
out or disturbing the pins, of course destroys the sym- 
metry with which they are arranged. However, 
they are easily made, and to stick the pins in proper 
order, may afford a few minutes of amusing occupa- 
tion to a little girl. They also look very prettj^ 




A MELON-SEED PINCUSHION. 

Make a flat circular pincushion in the manner of 
those stuffed with flannel, and cover it with silk. 
Have ready a sufficient quantity of musk-melon seeds, 



THE AMERICAN GIRL'S BOOK. 241 

clean and dr)^ With a strong needle pierce a hole 
through the broad end of every one. String them on 
threads, or on needle-fulls of buff-coloured silk of 
various lengths. Begin at the centre of the pincush- 
ion, and sew on the strings of melon-seeds ; every 
row or circle fitting in neatly between the seeds of the 
preceding one. The circle or strings of course in- 
crease in circumference as you approach the outer 
edge of the pincushion. Do both sides in the same 
manner. The last row of seeds that finishes the 
outer edge must be strung on a fine wire ; and in 
the finishing row insert between each seed two little 
glass beads of the very smallest size, and of the same 
colour as the silk of the pincushion ; blue or pink, for 
instance. The outer rovv^, that is, the one that is stiff- 
ened with wire, must project a little beyond the edge 
of the pincushion. 

The pins are stuck in the binding that is inserted 
between the two sides. Fasten to it a long string of 
ribbon. 



le 



242 THE AMERICAN GIRL'S BOOK. 



A BOOT PINCUSHION, 

Cut two pieces of pasteboard into the shape of a 
bootj in lenglh about equal to that of a grown person's 
middle finger, or larger if you choose. Cover them 
with black silk. Put between them several pieces of 
flannel, cut into the same shape. Unite the two sides 
of the boot, by inserting, between the edges of each, a 
binding of black galloon. 

When this is done, cover the top or upper part of 
the boot, on both sides, with a bit of thick buff-colour- 



THE AMERICAN GIRL'S BOOK. 243 

€d ribbon, about an inch or an inch and a half broad, 
to look like the Ught leather tops on real boots. Then 
sew on, at each side of the top, a loop of buff-coloured 
galloon, to resemble the straps by which boots are 
drawn on. 

The pins are to be stuck in the galloon-binding 
that unites the two sides of the boot. 




A SWAN PINCUSHION. 



Get two swans handsomely drawn on Bristol-board 
or fine white pasteboard. They must be exactly 



mi: THE AMERICAN GIRL'S BOOK. 

alike, and represented as swimming, so that the lower 
part may be flat, which will enable the pincushion 
when finished to stand upright. Cut them neatly 
out of the pasteboard. Make a thin flat pincushion 
the shape of the swan, growing thinner and flatter 
as it approaches the neck. This pincushion must be 
made of wliite silk, filled with a little wool or with 
pieces of flannel cut into the same shape, and united 
at the two edges with the very narrow white ribbon 
commonly called taste. There need be no head to it, 
as the heads of the two painted swans will come to- 
gether at the top. 

Then sew very neatly, and with as few stitches as 
possible, a swan to each side of the pincushion, unit- 
ing them gradually at the neck and head. 



THE AMERICAN GIRL'S BOOK. 



245 




^iJJIMm^^'-^' 



A WOMAN PINCUSHION. 



Get a small dolFs head and armsj of the material 
called composition. Make a body and upper parts for 



346 THE AMERICAN GIRL'S BOOK. 

the arms, of kid stuffed with bran. Then fasten the 
head and arms to the body. 

Make a coarse hnen pincushion, something in the 
shape of a bee-hive, and stuff it very hard with bran. 
The bottom or low^er extremity must be flat, and cov- 
ered with thick pasteboard that it may stand firmly. 
Then cover the whole pincushion with velvet or silk, 
and dress the doll with body and sleeves of the same, 
or of white satin. The pincushion represents the 
skirt, and you must sew it firmly to the body, conceal- 
ing the join by a sash or belt . You ma}^ put a hand- 
some trimming on the skirt. 

Make a hat or bonnet for the doll's head, and dress 
her neck with a scarf or handkerchief. 

The pins are to be stuck into the pincushion or 
skirt at regular distances in little clusters or diamonds 
of four together, so as to look hke spangles. 

This pincushion is for a toilet-table. 



THE AMERICAN GIRL'S BOOK. 247 




A GUITAR PINCUSHION. 

Take two pieces of thick pasteboard, and cut them 
into the shape of a guitar. Cover them with brown 
or buff silk. Having put a flannel between, sew 
them together at the edge. Represent the strings by 
gold thread, or yellow sewing-silk. At the place 
where the strings terminate, work a little upright 
ridge in bvitton-hole stitch ov overcast. Fasten a nar- 
row ribbon with a small bow to the top of the handle. 

Stick the pins round the edge of the guitar. 



248 



THE AMERICAN GIRL'S BOOK. 



NEEDLE BOOKS. 




A BELLOWS NEEDLE-BOOK. 



Cut two pieces of thick pasteboard into the shape 
of a pair of bellows, and cover them with silk. Or 
you may have four pieces of covered pasteboard in 
the bellows shape, uniting two of each by a narrow 



THE AMERICAN GIRL^S BOOK. 249 

ribbon, sewed all round between, to a stuffing of wool. 
This makes the sides of the bellows thicker and hand- 
somer, but is more difficult to do, or rather more 
tedious. Get two pieces of cloth ; cut them nearly 
as large as the bellow^s, and overcast their edges. 
These are the flaps for needles. Sew them to one 
of the halves of the bellows on the inside. Then 
sew the two sides of the bellows together by a few 
tight stitches at the bottom gv narrowest part, leav- 
ing a small open space for the insertion of the 
bodkin, which forms the nose or spout of the hel- 
lo Vv^s. To secure the bodkin more firmly, make a 
little loop of sewing siik on the inside of the bellovvS 
about an inch from the bottom, and slip the bodkin 
under the loop and through the aperture below. 

Sew strings of narrow ribbon to the handle of the 
bellows, and tie them tightly over it, when the needle- 
book is not in use. Stick pins along the edge which 
forms the pincushion part. 



5>50 



THE AMERICAN GIRL'S BOOK. 




A THISTLE NEEDLE BOOK. 



Take some thick wire, and wrap it round closely 
with green sewing silk^ or narrow green hank ribbon. 
Then cut large leaves of green cloth, and stiffen them 



THE AMERICAN GIRL'S BOOK. 251 

with wire sewed on the under side. Sew the leaves 
to the stalk. These leaves are to stick the needles in. 

Make a ball of linen stuffed with emery, and cover 
it with green velvety worked or crossed with yellow 
sewing-silk in the form of diamonds. This ball may 
be about the size of a hazel-nut. 

Cut a piece of pasteboard into the shape of a fun- 
nel ; the bottom exactly fitting the emery-ball, but 
the upper part spreading out wide. Have also a flat 
circular piece of pasteboard, cut out to lay on the top 
of this. Cover both these things with lilac silk, and 
sew the flat top to the funnel-shaped piece. This 
when sewed to the emery-ball, forms the thistle flower, 
which must, when iiaished, be fastened to the stalk. 

Stick pins round the seam at the upper edge of the 
flower. 

This little contriv^ance answers the purpose of nee- 
dle-book, emery-bag, and pincushion, and is to be kept 
in a work-box. 



252 



THE AMERICAN GIRL'S BOOK. 




A NEEDLE-BOOK WORK-BAG. 



Make a needle-book precisely as described in the 
next article. Then take a quarter and half quar- 
ter of silk, and cut it in h.df, as if to make a 
square reticule. Sew the two sides together, insert- 
ing a covered cord between them. Do not sew the 
sides all the way down, but terminate the seams at 
some distance from the bottom, so as to leave two 



THE AMERICAN GIRL'S BOOK. 25S 

open flaps large enough to conceal the thread-case. 
Then stitcii a seam all across, just above the flaps, so 
as to form a sort of false bottom to the bag. To thi^ 
seam sew the back of the threa^d-case, in such a man- 
ner that the flaps of the bag will fall over and conceal 
it. Sew five pair of ribbon strings on these flaps, so 
as to tie tliem down over the needle-book. 

Get two yards of narrow ribbon ; cut it in half, 
and run it into the broad hem or case at the top of 
the bag. Run each ribbon all round the case, the 
ends coming out at opposite sides to make the bag 
draw both ways. Tie these ends together in bows. 

These bags are very convenient in travelling, or 
when you take your work with you on a visit. 

To cover cord — take some new silk and cut it into 
long narrow slips, diagonally, or bias as it is com- 
monly called. Sew all these slips together by the 
ends that slope the same way. Then take some 
cotton cord, and laying the silk evenly over it, baste 
or tack it along, so as to inclose the cord. In after- 
wards sewing this to the straight side of a piece of 
silk, hold the silk next to you, and let your stitches 
be very short. 



254 THE AMERICAN GIRL'S BOOK. 




A VERY CONVENIENT NEEDLE-BOOK. 

Have read)i^ four pieces of pasteboard about the size 
of playing-cards J or broader if you choose. Cover them 
on both sides, with silk sewed neatly over the edges. 
Get some ribbon of the same colour, and about an 
inch broad. Sew it between two of the covered 
cards, so as to unite them all round, leaving only an 
opening at one end to put in the stuffing. Stuff it 



THE AMERICAN GIRL'S BOOK. 255 

very tightly with wool or bran, which must be press- 
ed down with your fingers as hard as possible, and 
then sew up the opening. This makes a pincushion 
which will look like a closed book, and the pins are to 
be stuck into its edges. I'hen get a piece of cloth 
nearly twice as large as the pincushion, and overcast 
the edo^es with silk. Fold it in half, and at the ed^je 
wdiere it is folded, run two or three cases or sockets 
for bodkins, which must be prevented from slipping 
down too far by a few stitches across that part of the 
socket to which the point of the bodkin descends. 
The eyes of the bodkins must be left sticking out at 
the tops of the cases. 

Take the two remaining cards that are covered 
with silk, and measure two pieces of silk twice the 
size of the cards. These are for the pockets. Hav- 
ing made a case in the top of each pocket, and run a 
narrow ribbon into it, gatlier them all round, and 
sew them on full to the outsides of these tvro last cov- 
ered cards, w^iich must then be sewed one to each 
side of the pincushion, having first inserted the nee- 
dle-flaps. They must be put on so as to resemble 
the covers of a book, with the back of the pincushion 
between them like the back of a book. Sew strings 



S56 THE AMERICAN GIRL'S BOOK. 

of ribbon at the two lower corners. At the two 
upper cornersj the ends of the drawing-strings in the 
top of the pockets must come out and tie. Orna- 
ment the back of the book with two bows, one at 
top, and one at bottom. 

The pockets are to contain the tr.imble, emery-bag, 
cotton-spool, &c. They will also hold a small pair of 
scissars, in a sheath. When the thread -case is not in 
use, it must always be carefully tied up. 



A PINCUSHION NEEDLE-BOOK. 

Make a flannel pincushion in the manner already 
■described. Let it be of a flat-sided form^ and about 



THE AMERICAN GIRL'S BOOK 257 

^rs large as a dollar^ and an inch thick. Make a 
round ball of velvet oi thick silk, lined with linen and 
stuffed with emery. You can get emery in small 
quantities either at the druggist's or at the hard-ware 
stores. The emery-ball should be about the size of a 
large hazel-nut. Sew it firmly to the centre of one 
of the flat sides of the pincushion. Get a piece of 
pasteboard, cut it of a circular form to fit the flat _side 
of the pincushion, and cover this pasteboard with 
silk. Then with a piece of silk twice the size of the 
pasteboard, make a pocket with a case at the top. 
Gather the pocket, and sew it to the pasteboard as in 
the needle-book first described. Make an eyelet hole 
in the middle of the case, and run in galloon, securing 
it at the ends. This is to draw the top of the pockeL 
Prepare two circular flaps of cloth to stick the nee- 
dles in^ overcast the edges and run them together 
near the back^ so as to form a socket for a bodkin. 
Then sew them on the pincushion ; but not of course 
on the side that has the emery-balL Then sew on 
the round piece of covered pasteboard, as a lid to con- 
'ceol the needle-flaps. To the upper edge of this lid 
csew a loop of galloon, and pull down the loop to the 
other side of the pincushion, so as to hitch over tlie 
17 



S38 THE AMERICAN GIRL'S BOOK. 

emery-ball, which will thus serve as a button to con- 
fine it. This is the fastening of the needle-book. 

Tf you want a string, sew it to the lower part of the 
edge of the pincushion. 

These pincushion needle-books are easily made, 
and are very useful. 




A THREE-SIDED NEEDLE BOOK* 

In making this needle-book, the first thing is to form 
the pincushion, which is thus constructed. Take 



THE AMERICAN GIRL'S BOOK. 259 

some pasteboard and cut it into three oblong pieces of 
equal size. They may be about six inches in length, 
and three in breadth. Cut a small round hole in one 
of them, and insert in it a socket for a thimble. This 
socket is sunk in the pincushion, is made of paste- 
board, and must exactly fit the thimble, which is to 
go in with the end downwards. 

Cover the three pieces of pasteboard with thick 
silk, and sew them all together in the form of a 
prism, or so that the shape of the pincushion will be 
three-sided. Close one end with a triangular piece of 
covered pasteboard, and stufiT the pincushion hard 
with wool or bran. Then close up the other end. 

Take a double piece of silk about half a quanei 
of a yard in length, and the width of the pincushion, 
to one side of which you must sew it. Sew this silk 
neatly all round the edge, and finish the other end by 
bringing it to a point. Inside of this silk, put tw^o 
cloth flaps for needles, with bodkin-cases run in them. 
You may, if you choose, add three silk straps, under 
which can be slipped a pair of small scissors. Put 
strings to the pointed end of the needle-book, and 
when you are not using it, keep it rolled round the 
pincushion, and tied fast. 



260 



THE AMERICAN GIRL^S BOOK. 



RETICULES. 




A DOLL BAG. 



Get a doirs head of composition. Make a square 
out of a quarter of a yard of silk, and run a 
<^^e for a drawing-string at the top. Sew the shoul- 



THE AMERICAN GIRL'S BOOK. 261 

^ers of the doll to the bag, just below the ca?e. 
You can pass the needle through the hole made for 
that purpose in the composition. Having run a rib- 
bon into the case, draw it up closely round the doll's 
neck. Make two arms of stuffed linen, and cover 
them with long loose sleeves of the same silk as the 
bag. Sew the arms to the inside of the bag, and 
bring them out at the two slits or openings, that are 
left at the sides near the case. 

Make a very small pincushion of a little slip of 
flannel, rolled tightly up and covered with silk. It 
must be of a cylindrical form. Get two small pieces 
of cloth ; overcast or scollop tlie edges, and sew them 
on one side of the pincushion as flaps to hold needles. 
Then sew on over all a small piece of fur, in such a 
manner as to hang down and conceal the needle-flaps. 
When the pincushion is finished in this manner, Vv'ith 
the fur over it, it will look like a little muflf; and the 
dfdJ's hands must be sewed fast under the fur to seem 
as if they were thrust into the muff. The fur must 
be put on so as to be lifted up to get the pins or 
needles. 

Make a quilted bonnet for the dolFs head. She 



262 



THE AMERICAN GIRL^S BOOK. 



will look like a lady going out with a cloak and 
inaff. 

These bags are very convenient to hang up in the 
sitting room, as they not only furnish pins and needles, 
but they afford a convenient receptacle for the scraps 
and sha:i gs that are left in cutting out work. As 
the very smallest pieces of linen or muslin are useful 
to the paper makers, it is wrong to throw them away 
or to burn them. 




A CIRCULAR RETICULE. 



Take half a yard of silk, and cut it into two 
equal parts, so that there will be a quarter of a yard 
in each. Sew together the selvage ends of these two 



THE AMERICAN GIRL'S BOOK. 

pieces so as to make a ring. In the middle of one 
of the breadths of silk, cut a slit of about half a 
quarter in length, or a little more. Lay narrow rib- 
bon all round the inside of this slit, and sew it down 
so as to form a case for the strings ; work the eyelet 
holes on the outside of the case. Gather the silk at 
top and bottom with four gathering threads, dividing 
it into quarters. 

Prepare two circular pieces of thick pasteboard. 
They must be about the size of a dollar. Cover 
them neatly with silk, and mark them into four equal 
divisions, which may be done with bits of white 
thread. Then take the silk that forms the bag, and 
sew it on the inside all round these pieces of paste- 
board, making the divisions or quarters match exactly. 
Run the strings into the case, and the bag will be 
finished. 

These reticules, though they do not look large, will 
hold a great deal. They may be made very hand- 
some, by covering the tv^^o circular pieces of paste- 
board with white satin, and painting on them small 
devices in water coloms ; something in the style of 
watch-papers. 



264 THE AMERICAN GIRL^ BOOK. 




A BASKET RETICCJLE. 



Get a small open-work basket of a circular forrHy 
and without handles. Then take a piece of silk about 
a quarter and half-quarter in depth, and inake it into 
a square bag, leaving it open at the bottom as well as 
at the top. Gather or plait the bottom of the silky 
and putting it down into the basket, sew it all round 
to the basket-bottom. The silk will thus form a lining; 
for the open sides of the basket. 

Run a case for a ribbon round the top of the bag. 



THE AMERICAN GIRL^ BOOK. 



265 




A THREE-SIDED RETICULE. 

Cut your silk into three pieces of equal size. Each 
must be about a quarter of a yard in depth, and half 
a quarter wide. The sides of each must be straight 
till within a finger's length of the bottom : they must 
then be sloped off to a point. Sew those three 
pieces of silk together, (inserting a covered cord 
between the seams,) and make them all meet in a 
point at the bottom. Put a tassel or bow at each 
corner, and one at the bottom. 
. Hem down the top, and run a ribbon into it. 



266 THE AMERICAN GIRL'S BOOK. 




A POCKET BOOK RETICULE. 

These reticules are frequently made of white hair- 
cloth, and embroidered with floss silk ; but as these 
materials may not be conveniently procured, we will 
recommend thick gros-de-nap, lined with stiff linen, 
muslin, or buckram. Half a yard of silk will be suf- 
ficient. Cut it into the shape of a large pocket-book, 
and cord the sides and round the flap. Fasten down 
the flap with two small silk buttons, and a loop of 



THE AMERICAN GIRL'S BOOK. 



26T 



narrow ribbon or galloon. The handles are made of 
two very stiff but slender rolls of gros -de-nap. cut 
bias, and filled as tightly as possible with a roll of 
wadding. These handles must be very firm and 
hardj and sew^ed with great neatness. Put ribbon 
bows at the corners. 




A PLAITED RETICULE. 



For this reticule, you must have three quarters of 
a yard of silk, and a yard of thick narrow watch- 



268 THE AMERICAN GIRL^ BOOK, 

ribbon, Avhich must be cut into four pieces of equal 
length. 

Cut off first a quarter of a yard of the silk and lay 
it aside to line the upper part of the bag. Then 
cut out the bagj dividing the silk into two pieces. 
Each side of the bag must be the whole breadth of 
the silk (to allow for plaiting^) and a quarter and half- 
quarter in depth. The top is to be cut into large 
scollops, three on each side. 

On each side of the bag, baste two rows (one above 
another,) of even regular plaits, and stitch down on 
them the pieces of narrovv^ ribbon, — the upper and 
lower plaits should turn different ways. Then baste 
on a muslin lining which need not extend to the top,, 
as the scollops are to be lined with silk. Cover a cord 
and insert it between the two sides of the bag, and all 
round the scollops at the top. After the sides are 
sewed together, make a case just below the scollops^ 
and run in the strings. Put a bow of ribbon at each 
corner of the bottom. 



THE AMERICAN GIRL'S BOOK, 



269 




A MELON RETICULE. 

A very pretty reticule may be made in this manner. 
Cut four pieces of pasteboard into an elliptical or oval 
shape ; perhaps they had better be somewhat pointed 
towards the top and bottom. They should be a quar- 
ter of a yard deep, and half a quarter in width* 
Split two of th^m doAvn the middle, so as to make 
ibut half pieces, and let the other two remain ovaL 
Cover them all with silk, and bind them neatly with 



270 THE AMERICAN GIRL'S BOOK. 

narrow ribbon ; or else insert a covered cord between 
the edges. 

Sew the curved sides of the half-pieces to the two 
curved sides of the whole pieces. This will leave 
the straight sides of the half-pieces inward. 

Make a square bag of a quarter of a yard of silk. 
Run a case in the top, and gather the bottom so as to 
draw it up quite close. Unite the bag to the pieces of 
covered pasteboard, by sewing them all together at 
the bottom, so that they shall all meet in as small a 
space as possible. 

Make eyelet holes near the top of the outside or 
whole pasteboards, and when you run the string into 
the case at the upper edge of the bag, pass the ends 
of the ribbon through these eyelet holes in the paste- 
board, so that it will draw both waySj and connect at 
the top the silk part of the reticule with the paste- 
board. 

Prepare three handsome bows of ribbon, and seW 
one at the bottom of the reticulej and the others at the 
top. The pasteboards of these reticules may be cov- 
ered with white satin and handsomely painted. In 
this case the bags and ribbon should be pink or blue. 



THE AMERICAN GIRL'S BOOK. 271 




A POINTED RETICULE. 

Get a quarter and a half-quarter of silk ; cut it 
into two pieces, after having taken off a slip for the 
four outside points. The two pieces are to form the 
sides of the bag. They must each be cut out w^ith 
two points at the top, and one large point at the bot- 
tom. Then cut out the four additional points. Cord 
the whole with silk of a different colour, and hne 
them all with the same as the cording* 



'nn 



THE AMERICAN GIRUS BOOK 



Then sew the two sides togetherj inserting a cord 
between. Next sew on the four outside points, two 
^n each side, so as to hang downwards ; finishing 
their straight edge with a cord sewed also to the reti- 
cule. Make a case just below the top-pointSj and run 
in a narrow ribbon. 




A HALBERT-SHAPED RETICULE. 

Take a quarter and half-quaiter of silk. CAit off 
^aeid lay aside a iialf-quarter to line the top. Theia 



THE AMERICAN GIRL'S BOOK. 273 

cut out the two sides of the bag, which must be 
rounded at the bottom, and terminating in a point at 
the top. It must also be rounded at the upper corner. 
Line the lower part with muslin, and the inside of the 
top with silk, sewing a covered cord all round. 

Sew together the two sides of the bag, and make 
a case where the silk lining leaves off. 

Get some satin piping-cord, and sew a row of it 
on the outside of the bag, so as to correspond in 
form with the shape of the top. Put on two bows of 
ribbon, one at each side, and run in the strings. 

The ribbon and piping-cord had better be of a dif- 
ferent colour from the sill<: of which the bag is made ; 
for instance, a purple reticule may be trimmed with 
blue J a green one with pink, &c. 



18 



2T4 



THE AMERICAN GIRL'S BOOK. 




AAnA/^v^VWW 

rLTLnj-inj 
www\ 



A DIMITY RETICULE. 



Little girls will find these reticules very convenient 
for common use, as they can be washed. 

Take a quarter of a yard of fine cambric-dimity, 
of the very narrowest cord, and split it in two. Cut 



THE AMERICAN GIRL'S BOOK. 275 

the shape of a small scollop or point out of an old 
card or a bit of thick paper. Laying this on the 
dimity, draw a row of points or scollops all roimd, 
taking care not to go too near the edge, and turning 
the corners handsomely. The drawing may be 
done with a lead pencil, or the point of a fine camePs- 
hair brush, dipped in wet indigo or prussian blue. 
Baste or tack the two sides of the bag together, and 
following the outline of the scollops, run them along 
with very neat short stitches ; taking care always to 
stick the needle through both sides, as it is that which 
unites them. 

When you have done running the scollops, cut 
them out with a pair of sharp scissars, but avoid cut- 
ting too close to the stitches. Then turn the bag 
right side outwards, and with the blunt end of a bod- 
kin poke out the scollops into their proper shape. 
Get some tape and sew it all round the inside of the 
bag, about two inches from the top. This will form 
the case, into which you must run strings of white 
cotton cord. 

These bags may be made of cambric-muslin, or 
small-figured gingham. 



276 THE AMERICAN GIRL'S BOOK. 




y2/2/Z/2/2^ XXXXXXXXX 



A BRAIDED RETICULE. 



Cut out two pieces of new cambric musliOj or fine 
cambric-dimity. Each piece must be a quarter of a 
yard wide, and a quarter and a nail in depth, to allow 
for the case at the top. Have ready a pattern for 



THE AMERICAN GIRL'S BOOK. 277 

braiding, drawn with a pen and ink on a slip of thick 
white paper, and baste it under the mushn, not too 
close to the edge. Take a piece of narrow worsted 
braid of any colour you like, (but scarlet, black, or 
dark blue will be the most durable,) and having 
wound it in a ball, stitch it neatly with sewing-silk 
on the muslin ; taking care not to draw it too tightly 
so as to pucker it, and be sure to follow the pattern 
exactly. Then sew together the two sides of the bag, 
make the case at the top, and run in a white cotton 
cord. 

When this bag is washed, it must not be scalded 
or boiled, as hot water will take the colour out of the 
braid. You may make a very pretty reticule of 
small-figured blue or pink gingham, ornamented wath 
white cotton braid. 

Braiding is a sort of work that can be done very 
expeditiously. The above are some of the easiest 
patterns. 



278 



THE AMERICAN GIRL'S BOOK. 



VARIETIES. 




A LAMP STAND. 



Procure about a quarter of a yard of very thick 
cloth or drugget, and cut it exactly square. Then 
get a yard of wide Brussels carpeting of only two 
colours, as, for this purpose, a variety of colours causes 
a confused and indistinct effect, and always looks 



THE AMERICAN GIRL'S BOOK. ^9 

badly. The best tints for a lamp-stand are shaded 
greens, varied only with shaded browns. These 
colours will give the effect of rich moss. 

Cut the carpeting into strips about three inches 
broad. Mark out on the cloth or drugget the space 
you intend to leave vacant for the foot of the lamp. 
You can make the marks by tacking a white thread 
along, so as to form a square. Round the outer edge 
of this square the strips of carpeting are to be sewed. 

Prepare, for the corners, some bits of carpeting, 
which are to be very small near the white line, and are 
gradually to increase in size as they advance tow^ards the 
outer extremity of the drugget. Begin by sewing on 
these bits so as to fill all the corners with them. 
Then sew on all the long strips, extending them from 
corner to corner. Each strip (as well as the corner- 
pieces) must be doubled or folded in the middle and 
stitched down on the right side. 

When the strips are all sewed on, they must be 
ravelled or fringed, so as to look like long plush or 
velvet. Afterwards go over the whole surface with a 
pair of very large scissars, and shear it as even as pos- 
sible. 



!^0 



THE AMERICAN GIRL'S BOOK. 




A MATCH BOX. 



Get a very small tumbler, such a one as is generally 
sold for sixpence. Cover the outside with fine colour- 
ed paper J blue, pink, lilac, or light green, pasted on 
very smoothly and evenly. When it is dry, paste a 
border or binding of gold paper round the top or up- 
per edge of the tumbler, and ornament it all over with 
small sprigs, stars, or spots, cut also out of gilt paper. 



THE AMERICAN GIRL^S BOOK. 281 

You must next have recourse to a colour-box for 
some burnt-umber, and a fine cameFs-hair pencil. 
The umber is a handsome brown colour ; rub a little 
of it on a plate or saucer, and with the camel's-hair 
pencil trace a dark narrow line close under the lower 
edge of the gold border, and also along the right-hand 
edge of every one of the spots or sprigs ; but on no 
account continue the dark line round both sides of the 
gold ornaments, as that will destroy the effect. If 
properly done, the dark brown shade on one side of 
the gold, will make all the ornaments look as if they 
were relieved or raised from the surface. 

Then fill the box with paper-matches, and keep it 
on the mantel-piece. 

In pasting the coloured-paper on the tumbler, you 
can leave a vacant space, which may be occupied by 
a handsome little engraved picture, bordered with 
gold. 

In making matches, cvit the paper into long straight 
narrow slips, an inch or two wide. Fold them two or 
three times, and stroke them down between your fore- 
finger and thumb, pressing them very hard with your 
thumb-nail, so as to make them firm and even. 



388 THE AMERICAN GIRL^S BOOK. 




A RIDDLE FLOWER. 



Procure some fine pink, blue, or yellow paper, and 
cut out thirty-six leaves, all exactly alike. The form 
inust be a narrow oval diminishing to a point at each 



THE AMERICAN GIRL'S BOOK. 283 

end ; the size about six inches long, and two inches 
wide at the broadest part. 

Write, in very small neat letters, a conundrum on 
each leaf, and put the solution on the back, or under 
jide. Cut out of green paper, four large leaves, re- 
sembling those of the oak, and write an enigma on 
each with the answer on the back. Make a fold or 
crease down the middle of each flower-leaf and unite 
them all in the centre with a needle and thread ; so 
that they spread out all round, resembling a dahlia. 

For the stalk, prepare some wire, covered with nar- 
row green ribbon wrapped closely round it. With a 
needle, fasten the green leaves to this stalk, and then 
put on the flower. In the centre of the flower, pu^ a 
small circular piece of pasteboard or card, painted yel- 
low so as to imitate the stamina, and sew it on neatly 
to conceal the place where all the leaves come togeth- 
er. Fasten a similar little piece to the back of the 
flower where the stem is joined to it. 

Three or four of these flowers in a tumbler or flower- 
glass, make a handsome ornament for a centre table ; 
and the riddles, if well selected, will afford amusement 
to visiters. 



284 



THE AMERICAN GIRL'S BOOK. 




A DANCING DOLL. 



Draw, on fine pasteboard or Bristol-board , a doll 
about a foot high, and paint her face and hair hand- 
somely ; then cut her out. Make, separately from 



THE AMERICAN GIRL'S BOOK. 285 

the doll a pair of pasteboard arms, and a pair of legs 
of the same material ; and paint the hands and feet. 
The doll's waist must be covered with a body or cor- 
sage of silk or satin, lined and made shapely with a 
little wadding. Cover the arms with white sleeves of 
crape or thin muslin ; let them be wide and full, and 
confine them at the wrist. Sew on the arms to the 
shoulders or bust of the doll. They should be made 
as if she was holding out her frock with them. 

Prepare a silk skirt, and plait it on to the doll's 
waist, concealing the join with a belt or sash. You 
may add an apron of thin crape, trimmed with ribbon, 
and tucked up at one corner with a small flower. 

Put silk shoes on her feet, having sewed on the 
legs of the doll in such a manner that they will move 
easily from the knees. 

Take a small spool or ball of black sew^ing-silk. 
Pass one end of it through the body of the doll, and 
having made a large knot on this end, tie it to the 
bar of a chair. Slip the doll along the thread of silk till 
she is about a yard from the chair. Then place your- 
self in front of her, holding the spool in your hand ; 
you may stand two yards from the doll. Jerk the 



286 THE AMERICAN GIRL'S BOOK. 

thread up and down so as to move the doll, and make 
her feet go as if they were dancing. 

When you are about to put her away, draw in the 
thread close to her back (the knot will prevent its com- 
ing through,) Vvind up the spool, and lay it with the 
doll in her box or drawer. 

There must be a flat skirt of pasteboard under the 
silk skirt to shape it out ; and to the middle of this 
pasteboard the legs must be loosely fastened, but not 
so as to endanger their dropping off. 



THE AMERICAN GIRL'S BOOK. 



287 




A JOINTED LINEN DOLL. 



Linen dolls, when large and properly made, gener- 
ally afford more pleasure to little children than those of 
wax, wood, or composition, as they can be handled and 
played with freely ; and w hen soiled or injured are ea- 
sily repaired. No child can hurt itself or its play- 



288 THE AMERICAN GIRL'S BOOK. 

mate with a linen doll, and by renewing the outside 
covering, and stitching up an occasional rent, they 
can be made to last for years. We have always ob- 
served that they remain longer in favour with their 
young owners, and continue to give them more real 
satisfaction, than the handsomest vvax doll that can 
can be purchased. 

To make a large linen-doll in the best manner, 
you will require, perhaps, a gallon of bran, which in 
the city will cost a few cents, in the country nothing. 
Before you go to work, collect all the materials, and 
put them on a large waiter ; else the litter on the floor 
around you will be very great. 

Get some coarse white linen, and cut out of it a 
piece to represent the head, neck, and shoulders of the 
doll. Then for the other side cut out another piece 
precisely of the same size and shape. The size of the 
head, when finished, may be that of a common or* 
ange ; but the pieces of linen must be quite large to 
allow for a great deal that will be taken up in stuff- 
ing. Then cut out the upper part of the arms (from 
the shoulder to the elbow) and then the lower part, 
from the elbow to the wrist ; shaping them handsome- 
ly. Next cut out the hands. You will not be able 



THE AMERICAN GIRL'S BOOK. 289 

to make any tolerable imitation of fingers ; therefore, 
all you can do, is to round off the hands in as shapely 
a manner as possible. 

Next cut out two pieces of linen for the back and 
front of the dolFs body, and give the waist a hand- 
some tapering shape. Afterwards cut out the legs 
from the hips to the knees ; and then in two separate 
pieces, the legs from the knees to the ancles ; shaping 
them well. Lastly, cut out the feet in four pieces, two 
for each side. 

All these different parts of the doll, must be sewed 
separately, stuffed tightly with bran, and then strongly 
sewed up at the ends. They must be stuffed so hard 
that they cannot be dented. 

The head must be made of a good shape ^nd w^ell 
rounded. To stiffen the neck (w^hich would other- 
wise droop down, and hang about as if broken) take a 
smooth round stick, near six inches or half a foot 
long, and as thick as a man's thumb ; thrust this stick 
into the neck, among the bran, passing one end up into 
the head, and leaving enough of the other end to go 
down into the breast. If the bran has been stuffed in 
sufficiently tight and firm, it will keep this stick quite 
steady, and the head will always be erect. 
19 



.^90 THE AMERICAN GIRL'S BOOK. 

The next thing is to sew the different parts of the 
arms together, so as to make joints at the elbows and 
WTists ; and then cover them entirely from the shoul- 
ders to the termination of the hands, with fine w^hite 
linen nicely fitted. Then sew together the different 
parts of the legs, making joints at the knees and an- 
cles, and cover them also v/ith fine linen. This out- 
side covering v\dll not prevent the joints from bending. 
Next, cover the head, neck and breast wath fine linen. 
In sewing the outer covering on the head, great care 
and nicety is requisite in turning in the folds and 
wrinkles of the linen. These folds and wrinkles 
must be so managed as to come as much as possible 
to the back and top of the head, leaving the face with 
a smooth and even surface. 

When all the different parts are completed, they 
must be put together, and sewed very firmly with 
strong thread. That is, the bead, neck and breast of 
the doll must be sewed to the body, the arms must 
be sewed to the shoulders, and the legs to the lower 
part of the body. ^ 

When the doll is so far completed, her face must 
be handsomely painted in w^ater-colours ; so as to rep- 
resent cheeks, eyes, nose and mouth ; hair must also 



THE AMERICAN GIRL^S BOOK. 291 

be painted to look as if curling all over the back of her 
head, and round her forehead. When the face be- 
comes soiled, it can be renewed by sewing on a new 
piece of linen, and painting it again. 

A linen doll of this description can easily be made 
to sit alone on the floor, to kneel, and to bend her 
arms in any position. As has been explained, the 
joints are formed by making the doll in so many sep- 
arate pieces, and then sewing them all together. The 
proportion of each part should be well observed. 

You may make gloves for her out of the arms of 
old kid gloves, and also boots or shoes of the same. 
Her stockings may be made of the tops of fine old 
stockings. If properly drest in a nice frock and pet- 
ticoats (hke a baby for instance) this doll A\dil look 
extremely well ; particularly if her face is prettily 
painted ; and she will be found an excellent play- 
thing even for a little girl of seven or eight years old, 
who may take pleasure in making clothes for her. 



292 



THE AMERICAN GIRL'S BOOK. 




A COMMON LINEN DOLL. 



These dolls are easily madej and answer every pur- 
pose for very small children » ^ They may be of any 
size, from a quarter of a yard long to a finger length. 
Some little girls make a dozen of these dolls together 
and play at school with them. 



THE AMERICAN GIRL'S BOOK. 293 

Fold a piece of linen or thick muslin in half, and 
then roll it up as tightly as possible. The upper end 
of the roll is to represent the doll's head, which must 
be gathered on the top with a needle and thread and 
then drawn closely together, and sewed up in the cen- 
tre. The roll must then be sewed half way down, 
beginning at the back of the head, and continuing as 
far as what is intended for the bottom of the waist. 
From the waist the linen must go loose, and be made 
to spread out as widely as possible ; so as to form 
something like a petticoat. Cut the linen quite even 
at the lower edge, that the doll may stand steadily. 

Get a piece of calico or gingham for the frock, sew 
it up behind, and then hem the bottom. Turn in the 
top and gather it. Put it on the doll, and draw it 
up closely round the neck, fastening it behind with a 
few stitches. Form the waist of the frock by wrap- 
ping a thread or small string tightly round it, and 
drawing it in as small as possible. 

For the arms, roll up two small pieces of linen, sew 
them up, and cover the upper part of each with a lit- 
tle of the same calico as the frock, to represent a short 
sleeve. Then sew the arms to the doll, just above 
the top of the frock. 



294 THE AMERICAN GIRL^S BOOK. 



A BLACK DOLL 

May be made in the same manner as the preced- 
ing. The hnen part must have an outside covering 
of black silk or black canton crape. The frock should 
be of domestic gingham or calico, and she should have 
a check apron. A white muslin cap on her head 
will greatly improve her appearance. 

Yon may make a whole family ol these linen dolls, 
representing a mother and several children, among 
them a baby. A black one may then be added as a 
servant. 



THE AMERICAN GIRL'S BOOK. 



•295 




A PEN- WIPER. 



Take two old playing-cardsj and cover them on 
both sides with silk, sewed neatly over the edges. 
Then sew the cards together, so as to resemble the 
cover of a book. To form the leaves of the book, 
prepare six or eight pieces of canton crape : double 
them, and cut them to fit the cover. With a pair of 
sharp scissars scollop them all round, and then lay 
them flat and even on the cover, and sew them in with 
a needle-fuU of sewiog-silk. On these leaves of can- 
ton crape the pens are to be wiped. Black is the best 
colour. 



2Q6 



THE AMERICAN GIRL'S BOOK, 




ANOTHER PEN-WIPER. 



Cut out a great number of pieces of canton-crape, 
about the size of half a dollar, and of as many differ- 
ent colours as you can procure. liay them evenly in 



THE AMERICAN GIRL'S BOOK. 297 

separate piles ; let one pile be black, another red ; 
some piles blue, and some green. Let there be an 
equal number of pieces in each pile. Then stick a 
needle with a thread of silk in it, through the centre 
of each pile, and fasten the pieces together. When 
all your various piles are ready, make a small hole 
tlirough the middle of each, with a pair of sharp-point- 
ed scissars, and run a silk cord through them all, as 
if you vrere stringing beads : arranging the different 
colours according to your taste. You may make the 
string of pen-wipers of any length, from a quarter of a 
yard to a whole yard. 

These are very useful to hang over a desk where 
a great deal of writing is done, and may be acceptable 
presents from little girls to their fathers. 

They will look the better for having the edges 
scolloped. You may either fasten each cluster of 
pieces permanently to the string, so as to remain sta- 
tionary, or you may leave them to slip up and down 
like beads. 



298 THE AMERICAN GIRL'S BOOK, 




A THIRD FEN-WIPER. 



Cut out two circular pieces of pasteboard about the 
size of a dollar, or larger if you choose^ and cover them 
with silk on both sides. Then get some canton 
crape ; cut it into round pieces to fit the covered paste- 
board, and scollop their edges in very small points. 
You may prepare eight or ten pieces. Put the leaves 
of crape between the two pasteboards, and fasten them 
all in the centre, stitching them through and through 
with strong silk and a coarse needle. Conceal the 
fastening, by covering it on each side with a tuft of 
ravelled or floss silk of a bright colour. 



THE AMERICAN GIRL^S BOOK. 299 




HEXAGON PATCH-WORK. 

Little girls often find arauseinent in making patch- 
work quilts for the beds of their dolls, and some even 
go so far as to make cradle-quilts for their infant 
brothers and sisters. 

Patch-work may be made in various forms, as stars, 
triangles, diamonds, waves, stripes, squares, &c. The 
outside border should be four long strips of calico, all 
of the same sort and not cut into patches. The dark 



300 THE AMERICAN GIRL'S BOOK. 

and light calico should always be properly contrasted 
in arranging patch-work. 

Children may learn to make patch-work by begin- 
ning with kettle-holdersj and iron-holders ; and for 
these purposes the smallest pieces of calico may be 
used. These holders should be lined with thick 
white muslin, and bound all round with tape ; at one 
corner there should be a loop by which to hang them 
up. Blower-holders are very convenient for the use 
of servants, to save their hands from scorching when 
they remove the blower from the coal-grate. 

Perhaps there is no patch-work that is prettier or 
more ingenious than the hexagon, or six-sided ; this 
is also called honey-comb-patch-work. To make it 
properly you must first cut out a piece of pasteboard of 
the size you intend to make the patches, and of a hex- 
agon or six-sided form. Then lay this model on your 
calico, and cut your patches of the same shape, allow- 
ing them a little larger all round for turning in at 
the edges. 

Of course the patches must be all exactly of the 
same size. Get some stiff papers (old copy-books or 
letters will do) and cut them also into hexagons pre- 
cisely the size of the pasteboard model. Prepare as 



THE AMERICAN GIRL'S BOOK. 301 

many of these papers as you have patches. Baste or 
tack a patch upon every paper, turning down the edge 
of the caUco over the wrong side. 

Sew together neatly over the edge, six of these 
patches, so as to form a ring. Then sew together six 
more in the same manner, and so on till you have 
enough. Let each ring consist of the same sort of 
calico, or at least of the same colour. For instance, one 
ring may be blue, another pink, a third yellow, &c. 
The papers must be left in, to keep the patches in 
shape till the whole is completed. 

When you have made a sufficient number of the 
calico rings, get some thick white shirting-muslin, and 
cut it also into hexagons, which must afterwards be 
sewed over papers like the coloured patches. Sew one 
of the white hexagons in the centre of each ring of 
calico, which must then be surrounded w4lh a circle 
of white, which wall make three white patches come 
together at each corner of the coloured rings. 

In this manner all tlie patches are put together till 
the whole is finished. Put a deep border all round, of 
handsome dark calico, all of the same sort. 

Prepare a fining of thick w^hite muslin, and lay bats 
of carded cotton evenly between, after you have put it 



302 



THE AMERICAN GIRL'S BOOK. 



into the quiliiiig-frame. In quilting it you have only 
to follow the shape of the hexagons. When it is ta- 
ken out of the frame, finish it with two or three rows of 
running at the edge, which must be neatly turn- 
ed in. 





A COURT-PLASTEPc CASE, 



Cut out of thick paper a model of the case, which is 
a square of about four inches, with a semicircular leaf 
projecting from each side ; these four leaves when 
they are folded down shut in the court-plaster. 

H. Yi ^ 85 4 



THE AMERICAN GIRL'S BOOK. 



303 



Lay the model on a piece of fine v;hite drav/ing-pa- 
per, and trace the size and shape with a pencil. Then 
cut it out. With water-colours paint a narrow bor- 
der all round, and both on the inside and outside, and 
also a pretty little device on the back. Write on the 
inside with red ink these lines : 

" If knife or pin should hand or face offend, 
This little case its healing help will lend." 




MMnVimm 



IQPIA 




* A 






...^ A^ 



^^<^ 







>>• 




'« . ♦ « 








°^..*' 














<> *'7V 








